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AUDIO RECORDING ARCHIVES
KENNETH GILBERT AND THE ART OF THE HARPSICHORD
On the 90th anniversary of his birth 1931-2021
Music by: Scheidemann, Froberger, Buxtehude, Kuhnau, Weckmann, Muffat, J. S. Bach.
Concert from 10 July 1991
60th Estate Musicale Chigiana
Palazzo Chigi Saracini
Wöhrden 1595 – Hamburg 1663
Galliarda con variazione
Johann Jacob Froberger
Stuttgart 1616 – Héricourt 1667
Toccata in A minor FbWV 101 (1649)
XVIII Suite in G minor
Lamentation faite sur la mort très douloureuse de Sa Majesté Impériale, Ferdinand le troisième (1657)
Lamentation over the very painful death of His Imperial Majesty, Ferdinand III
Helsingbord 1637 – Lübeck 1707
Suite n.1 in C major Bux WV 226 (1712)
Allemanda – Corrente – Sarabanda – Giga
Geising 1660 – Leipzig 1722
from Biblical Sonatas (1700)
No. 4 in C minor
Niederdorla 1616 – Hamburg 1674
XII Toccata in E minor
Megève 1653 – Passau 1704
Passacaglia in G minor (1690)
Johann Sebastian Bach
Eisenach 1685 – Leipzig 1750
English suite n.4 in F major BWV 809 (1720 circa)
Prelude – Allemanda – Corrente – Sarabanda – Minuet I and II – Giga
|00:00||H. Scheidemann Galliarda con variazione Wv107|
|05:25||J. J. Froberger Toccata in la minore|
|09:08||J. J. Froberger XVIII Suite in sol minore. Allemanda|
|16:53||J. J. Froberger Lamento sopra la dolorosa perdita di Sua Maestà Ferdinando III|
|23:32||D. Buxtehude Suite n. 1 in do maggiore Bux WV 226. Allemanda|
|30:05||J. Kuhnau Sonata Biblica n. 4 in do minore|
|37:48||M. Weckmann XII Toccata in mi minore|
|41:54||G. Muffat Passacaglia in sol minore|
|49:55||J.S. Bach Suite inglese n. 4 in fa maggiore BWV 809. Preludio|
|01:03:03||Minuetto I e II|
|01:13:06||F. Couperin Les Barricades Mystérieuses|
Montreal 1931 – 2020
Kenneth Gilbert was born in Montreal but spent most of his life in Paris, where he studied organ with Gaston Litaize and Maurice Duruflé, harpsichord with Sylvie Spicket and Ruggero Gerlin, and composition with Nadia Boulanger.
He has given harpsichord and organ masterclasses and recitals in almost all major cities in Europe, Canada, the United States, Brazil and Japan. His numerous recordings include the complete works for harpsichord by François Couperin and Jean-Philippe Rameau, the suites, partite, Goldberg Variations and The Well-Tempered Clavier by Johann Sebastian Bach.
For various publishers he has curated the critical editions of the organ works of François Couperin, The Goldberg Variations by Johann Sebastian Bach and the toccate by Girolamo Frescobaldi and Michelangelo Rossi; as well as, the complete works for keyboard by Jean-Henri D’Anglebert, Copuerin, Rameau and Domenico Scarlatti. In the publishing field he also dealt with the production of Hieronymus Kapsberger for lute and theorbo.
He was a member of the jury at the international harpsichord competitions in Bruges, Paris, Munich, Edinburgh, Washington, Warsaw and Prague. Kenneth Gilbert successfully dedicated himself to teaching, holding positions in harpsichord at the Royal Conservatorium in Antwerp, the Stuttgart Musikhochschule, the Conservatoire de Paris, and the Mozarteum in Salzburg.
He was a lecturer in advanced specialization summer courses at the Accademia Musicale Chigiana in Siena and the Internationale Sommerakademie Mozarteum Salzburg in Salzburg; as well as, an often invited guest lecturer of harpsichord at both the Royal College of Music and the Royal Academy of Music in London. Held an adjunct professorship at McGill University in Montreal.
He was awarded an honorary doctorate in music from McGill University; named an officer of the Order of Canada (1987), and of the Order of Arts and Letters of France. In Austria, he received the Cross of Honor for the sciences and arts of the 1st Class (1999). He was also an honorary member of the Royal Academy of Music in London and a Fellow of the Royal College of Music and the Royal Society of Canada.
Jurij Bashmet, viola
Mikhail Muntjan, piano
Music by: Marais, Mendelssohn-Bartholdy, Schubert, Britten
Concert from 5 August 1992
61st Estate Musicale Chigiana
Crypt of San Domenico
Paris 1656 – Paris 1728
Five ancient French dances
Hamburg 1809 – Leipzig 1847
Sonata in C minor (1824)
Adagio, Allegro – Minuetto – Andante con Variazioni, Allegro molto
Himmelpfortgrund, Vienna 1797 – Vienna 1828
Sonata in A min. D.821 “The arpeggione” (1824)
Allegro moderato – Adagio, Allegretto
Lowestoft 1913 – Aldeburgh 1976
Lachrimae for viola and piano op.48 (1950)
(Reflections on a song of Dowland)
|00:00||M. Marais Cinq danses anciennes françaises. L’agréable|
|12:08||F. Mendelssohn-Bartholdy Sonata in do minore. Adagio, Allegro|
|23:43||Andante con Variazioni, Allegro molto|
|34:03||F. Schubert Sonata in la minore D 821 Allegro moderato|
|58:46||B. Britten Lachrimae op. 48|
Rostov on Don 1953
The reference violist of the contemporary era.
As a viola performer, artistic director of the December Nights Festival in Moscow, musical director of the Novaya Rossiya State Symphony Orchestra (since 2002) and founder of I Solisti di Mosca (1992), Yuri Bashmet has encouraged leading composers of his time to expand the repertoire with new compositions.
Jurij Bashmet completed his musical training under the guidance of Vadim Borisovskij, violist of the Beethoven Quartet, and of Fëdor Družinin at the Moscow Conservatory.
His international career began in 1976, after winning the Hindemith International Viola Competition in Munich. Since then he has performed with the most important orchestras in Europe and America.
Jurij Bashmet has established important personal and professional relationships with many composers, in particular with Alfred Schnittke and Sofija Gubaidùlina, arriving to receive and perform 55 new compositions, including, for example, the Concerto for viola by A. Schnittke, which has now entered be part of the worldwide repertoire dedicated to this instrument. Other concerts were specially composed by Poul Ruders, Aleksandr Tchaikovsky and Aleksandr Raskatov. He also premiered Giya Kančeli’s “Stikh”, John Tavener’s “The Myrrh Bearer” and Mark-Anthony Turnage’s “On Opened Ground”, all works dedicated to him.
Very active in the field of chamber music, Jurij Bashmet has collaborated with
Sviatoslav Richter, Gidon Kremer, Mstislav Rostropovič, Marta Argerich, Maxim Vengerov, Natalia Gutman, Jessy Norman and the Borodin Quartet. He formed a famous trio with Angelika Kirchschlager, mezzo-soprano and Jean-Yves Thibaudet, piano, presenting both ancient and contemporary music, suitable for such an unusual and evocative formation. More recent chamber projects include Beethoven’s trios with Anne Sophie Mutter and Lynn Harrell. He is a regular guest of some summer festivals such as Festival Elba, Verbier and Martha Argerich Festival in Japan.
Among his many recordings, the recording of S. Gubaidulina’s Viola Concerto and G. Kančeli’s “Stikh” for Deutsche Grammonphon won the Diapason d’Or and a nomination for the Grammy Awards. With the Moscow Soloists he won the Grammy prize for recording works by Stravinsky and Prokof’ev for the Onyx label and nomination for the Far Eastern music program.
Jurij Bashmet is founder and member of the jury of the Meždunarodnyj Konkurs al’tistov Jurija Bašmeta, International Competition for violists, which bears his name and president of the Lionel Tertis International Viola Competition of the Isle of Man. Moscow and honorary lecturer at the Royal Academy of Music in London. He taught the viola course at the Accademia Musicale Chigiana in Siena from 1987 to 2015 and masterclasses at the Kronberg Academy in Germany.
Mikhail Muntjan was born in Moscow and completed his musical training at the Gnesin State Institute, in the class of Jakov Flier. From 1962 to 1976 he collaborated with the Moscow Radio Symphony Orchestra, under the direction of Gennady Roždenstvensky and Kirill Kondrašin.
Together with Fëdor Družinin he is the first performer of Dmitrij Shostakovič’s “Sonata for viola and piano”. In collaboration with G. Roždenstvenskij, Z. Šakhmurzaeva, I. Boguslavskij, Ju. Jurov, M. Bezrukov and F. Družinin he made numerous premieres for the Pan-Soviet Radio of the works of Gabičvadze, Amirov, Ešpaj, Ščedrin, Livitin, Bakhor and Frid.
The Symphonies for viola, piano and orchestra by A. Golovin and G. Frid are dedicated to him. He has performed alongside outstanding musicians such as A. Korsakov, D. Šaffan and I. Monghetti.
From 1967 to 1970 he worked with the Moscow Chamber Orchestra, conducted by R. Baršaj, with whom he recorded numerous CDs as a harpsichordist (works by J.S. Bach, G.F. Händel, M. Marais and P. Hindemith). In 1973 the recording of Bach’s “Die Kunst der Fuge” won the Grand Prix de Paris. From 1970 to 1975 he participated in the projects of the Ensemble under the direction of L. Markiz. Together with this ensemble and A. Lyubimov he recorded the works of J.S. Bach for harpsichord. From 1978 to 1991 he was concertmaster of the Moscow State Philharmonic. In 1976 he became a permanent partner of the violist Jurij Bašmet.
In the 30 years of concert activity alongside Jurij Bašmet, Mikhail Muntjan has proved to be an excellent musician with extraordinary understanding skills. They have performed in duo in over 500 concerts. The repertoire presented in concert is truly vast and includes works by Bach, Mozart, Beethoven, Brahms, Debussy, Fauré, Čajkovskin, Glinka, Schubert, Shostakovič, Prokof’ev, Schnittke, Denisov and Kančeli.
Mikhail Muntjan has given concerts in the best concert halls in Europe, United States of America, Canada, Latin America, Australia, New Zealand and Japan. During their careers Jurij Bašmet and Mikhail Muntjan have performed recitals for viola and piano in prestigious halls such as Carnegie Hall in New York, Concertgebouw in Amsterdam, Barbican Hall in London, Philarmonie Berlin, Teatro La Scala in Milan, Bol’šoj Zal of the Conservatory of Moscow and the Leningrad Philharmonic.
He has recorded over 20 CDs, including important recordings of works for viola and piano by Russian and Soviet authors, which have won prestigious European awards such as “Choc de la Musique” and “Diapason d ‘Or”.
HOMAGE to SEGOVIA
On the 100th anniversary of his birth 1893-1993
Trio Chitarristico Italiano, Ghiglia, Diaz, Duo Puddu, Cucchi, Calsolaro, Company
Music by: Company, Smith Brindle, Donatoni, Giuliani, Castelnuovo-Tedesco, J.S. Bach, Sor, Albéniz, Segovia, De Falla
Concert from 10 December 1993
71st Concert Season Micat in Vertice
Palazzo Chigi Saracini
Florence 1931 – 2020
Memento ’93 (Acuérdate…!) for guitar quartet op. 38 (1993)
Premiere of the integral work
Alvaro Company & Trio Chitarristico Italiano
Reginald Smith Brindle
Cuerden, Lancashire 1917 – Caterham, United Kingdom 2003
Music for three guitars (1970)
Trio Chitarristico Italiano
Verona 1927 – Milan 2000
Algo n. 2 two piece for two guitars (1993)
Bisceglie 1781 – Naples 1829
Rossiniana n. 2 op.120 (1821)
Florence 1895 – Beverly Hills 1968
Johann Sebastian Bach
Eisenach 1685 – Leipzig 1750
Prelude, Fugue, Allegro in E flat major for lute BWV 998 (1740 ca)
Barcelona, Spain 1778 – Paris 1839
from the 20 studies for guitar (rev. Segovia) (1945)
n. 17 in E minor
n. 16 in G major
Theme and Variations on a Theme by Mozart op.9 (1821)
Camprodon, Spain 1860 – Cambo-les-Bains, France
from the Suite española op. 47 (1912)
Linares, Spain 1893 – Madrid 1987
Prelude for two guitars
Manuel De Falla
Cádiz, Spain 1876 – Alta Gracia, Argentina 1946
Danza (da La vida breve) (1913)
Alirio e Senio Diaz
TRIO CHITARRISTICO ITALIANO – Alfonso Borghese, Roberto Frosali, Vincenzo Saldarelli
DUO PUDDU – Giovanni Puddu, Luigi Puddu
|00:00||A. Company Memento ’93|
|06:14||R. Smith Brindle Music for three guitars|
|18:03||F. Donatoni Algo n. 2 Due pezzi per due chitarre|
|33:19||M. Giuliani Rossiniana n. 2 op.120|
|45:17||M. Castelnuovo-Tedesco Tarantella|
|49:08||J.S. Bach Preludio, Fuga e Allegro BWV 998. Preludio|
|01:03:01||Sor-Segovia Studio n. 17|
|01:06:06||Sor-Segovia Studio n.16|
|01:08:16||Sor Variazioni su un tema di Mozart op.9|
|01:15:23||I. Albéniz Granada|
|01:19:47||I. Albéniz Torre Bermeja|
|01:23:57||I. Albéniz Asturias|
|01:29:25||A. Segovia Preludio per due chitarre|
|01:31:56||M. De Falla Danza|
Florence 1931- 2020
He studied composition at the Luigi Cherubini Conservatory in Florence with Rodolfo Cicionesi, Luigi Dallapiccola, Paolo Fragapane, Vito Frazzi and Carlo Prosperi, earning diplomas in Choral Music (1955) and Composition (1956).
A guitar student of Andrés Segovia at the Accademia Chigiana from 1950 to 1954, in 1960 he founded the Classical Guitar Course at the Conservatory of Florence and at the Liceo Musicale “O. Vecchi ”of Modena. The following year, he taught the same subject at the Claudio Monteverdi Conservatory in Bolzano, and in 1967 he began teaching at the Conservatory of Santa Cecilia in Rome.
Before becoming a full-time instructor, he pursued a career in performance both as a soloist and in duo collaborating with soloists and chamber ensembles of international fame, such as the violist Dino Asciolla, the flutist Severino Gazzelloni, the oboist Lothar Faber, the timpanist Luigi Torrebruno, the Soloists of the Berlin Philharmonic Orchestra, the Soloists of La Scala, the Venetian Soloists, as well as, with various conductors. This concert activity lasted until 1970, the year in which an injury to his right arm reduced, and eventually suspended, his concert career. After a long period of rehabilitation, he returned to perform in 1987 and 1992 at the Accademia Chigiana alongside the Italian Guitar Trio.
His research and experience as a guitarist, pedagogue, composer, as well as, a reviewer of modern works for guitar and of the historical repertoire for guitar and lute, allowed him to broadly enrich his technique and develop a personalized way of teaching the instrument. He devised an executive methodology, which he gave the name of “musical biodynamics”. This interpretative technique, based on the psycho-physical relationship existing between movement, pulsation, breath and gesture, harmonizes the contact with the instrument in a more intimate and complete participation in the music.
As a composer, his sonorous world, born from atonal roots with the “Fantasia” op. 1 for piano from 1948, proceeds in this way up until “Las Seis Cuerdas” op. 8 for guitar (1963), a work that represents the conjoining of his interests as a composer and instrumentalist, and which has opened new avenues for the modern instrumental technique of the guitar.
He begins teaching at about the same time. The need to offer student-performers a variety of musical characteristics and moods suggested to him the idea of writing pieces dedicated to internal and personal “images” of composers dear to him. Beginning in 1973, his language undergoes a progressive transformation: modalities, melisma, tonality, atonality and seriality reappear as dreamily transfigured archaeological traces.
Company was a member of the Luigi Cherubini National Academy in Florence. In 1991, a commission chaired by Goffredo Petrassi awarded him the Massimo Mila Prize “for the exemplary teaching commitment of a lifetime”. In 1996, at the First National Guitar Convention in Pesaro, he was awarded the Golden Guitar for Didactics; and four years later in Alessandria the Golden Guitar for Composition. In 2010, he was awarded the “Golden Guitar – A life for the guitar”.
Trio Chitarristico Italiano
Alfonso Borghese, Roberto Frosali and Vincenzo Saldarelli
The Trio was the first ensemble of three classical guitars to be set up for a stable activity, debuting in 1970. Combining their personal experiences, the three musicians, all students of Alvaro Company, have created a completely new artistic proposal, with the rediscovery of a completely unknown part of literature for lute and guitar from the Renaissance to the twentieth century. With the Italian Guitar Trio a repertoire of contemporary works was also born for three guitars and for three guitars and orchestra. Many composers of the twentieth century, fascinated and stimulated by the unusual sound and expressive possibilities of the unprecedented instrumental formation, have dedicated new compositions to the Trio, which has thus opened an original path in the international concert scene. Among these Bruno Bartolozzi, Arrigo Benvenuti, Sylvano Bussotti, Alvaro Company, Aldo Clementi, Francesco Pennisi, Aurelio Peruzzi, Carlo Prosperi, Lawrence Singer, Reginald Smith Brindle, Lorenzo Ferrero, Andrea Talmelli and Ennio Morricone.
The Trio was a guest of the most important musical institutions in Italy: Teatro Comunale di Firenze with the Maggio Musicale orchestra directed by Riccardo Muti, Teatro Regio and Unione Musicale di Torino, University Institution of Rome concerts, RAI Italian radio and television, Amici della music from Florence and Perugia, the Chigiana Academy of Siena, the Massimo Bellini Theater of Catania and abroad. Twice in 1972 and 1975 the Italian Guitar Trio was awarded the “I Numeri Uno d’Italia” prize in the chamber music section. Alfonso Borghese taught at the Florence Conservatory and holds a masterclass at the Fiesole School of Music, Roberto Frosali was a teacher at the Ferrara Conservatory and at the Fiesole School of Music and Vincenzo Saldarelli at the Higher Institute of Musical Studies in Modena, of which he was Director for many years. The Trio has recorded three LPs for RCA and a CD for Relief, a DVD for Guitar Media Collection and the latest CD in 2017 for contemporary EMA Vinci, entitled “Music for three twentieth century guitars”.
Indicated by musicologists as “one of the recognized champions of the modern and contemporary repertoire currently working to trace new paths in the field of musical interpretation on the guitar”, Giovanni Puddu is one of the leading protagonists of the cultural renewal that crosses the world of the guitar.
A native of Cagliari, he studied with Oscar Ghiglia at the Accademia Musicale Chigiana, and with Manuèl Barrueco, John Williams, Angelo Gilardino, Alìrio Diaz, and Leo Brouwer. Giovanni Puddu received multiple awards in the top international competitions, and conducts a concert activity collaborating with prestigious conductors, symphonic orchestras from all over the world, and chamber music partners of the highest international caliber.
Working alongside the greatest composers of our time, Giovanni Puddu is assiduously committed to the extension of the contemporary guitar repertoire.
He has revealed fundamental works of the original literature of the nineteenth century, that were unpublished or infrequently performed, choosing to perform only with instruments built from 1950 onwards.
His vocation for teaching made it possible to identify an Interpretative School with autonomous traits unrelated to instrumental restrictions: it boasts students who have become among the most famous guitarists today. He teaches the Guitar and New Music for Guitar course at the Accademia Musicale Chigiana since 2020.
Luigi Puddu is considered by specialized critics to be one of the best talents at an international level for his instrumental technique and refinement of sound. The winner of awards in important international competitions, he has given concerts all over the world in the most prestigious concert halls. At the age of 19 he was brilliantly successful in Spain, obtaining the first prize at the XXII Edition of the “Certamen Internacional de Guitara F. Tarrega” in Benicasim. Since then, he has been a guest concert performer, and a teacher of masterclasses in the most prestigious international festivals dedicated to six strings in Italy, the rest of Europe and South America. Among other prestigious awards, he received the 1st prize “R. Bartolì” (France); 1st prize at the “L’Accademia della Chitarra” competition in Milan; 1st prize at the “Città di Parma” Competition; 1st prize at the festival for instrumentalists in Genoa and at the International Competitions “F. Sor” in Rome, “M. Giuliani” in Bari and “E. Pujol” in Sassari.
He is the dedicatee of the opera for two guitars by the composer Franco Donatoni – Algo n. 2 – world premiere in duo with his brother Giovanni at the Accademia Chigiana in Siena in 1993.
He has performed with the famous flutist Severino Gazzelloni, and with the Ukrainian violinist V. Brodsky. He has collaborated with the flutists M. Mercelli, C. Arimani and S. Maffizzoni, with the violinists C. Rossi and Alessandro Perpich and with the cellist L. Provenzani.
Defined by critics as one of the best known and most admired Italian guitarists on the international scene, Flavio Cucchi has given hundreds of recitals in America, Europe, Asia and Australia. He has also been invited to major international festivals and has participated in radio and television broadcasts of the BBC, RAI, ZDF broadcasters, Bayerischer Rundfunk, Televisa Mexico and Television Corporation of Singapore.
In Italy, he has performed in the most important theaters, including the Teatro alla Scala in Milan, the Comunale in Florence, the Teatro Regio in Turin, and the Teatro Regio in Parma.
An expert in contemporary music, he was the first performer of Goffredo Petrassi’s “Autumn Sestina” and participated in numerous works by Luciano Berio, Hans Werner Henze, Pierre Boulez and Sylvano Bussotti.
He is a dedicatee of works composed by contemporary authors, including the pianist Chick Corea, who wrote about him: “From the first time I listened to Flavio playing the guitar I became a big fan of his, the way he plays is simply full of beauty … “
He has also collaborated with artists outside the musical sphere, such as the actor Carmelo Bene, with whom he gave a recital; and the American poet Yusef Komuniakaa, winner of the Pulitzer Prize for poetry, who dedicated “Ode to the guitar” to him.
He has held master classes in the United States, Japan, China, Mexico, Russia, Sweden and Singapore.
He has over 20 published recordings to his credit.
Oscar Ghiglia is considered the ideal continuation of the school of Andrés Segovia (Linares, Andalusia 1893 – Madrid 1987) at the Accademia Musicale Chigiana. He himself considers this to be the place where music instruction reaches the pinnacle of quality. He was the chairman-founder of the classical guitar department at the Aspen Music School in Colorado, and Artist in Residence at the Hartt School of Music in Hartford (Connecticut). He taught for 22 years, from 1983 to 2005, at the Basler Hochschule für Musik, the Basel Academy of Music. Oscar Ghiglia is often invited to give advanced courses in the Academies of Zurich and Lucerne, and is a regular visiting professor at the Juilliard School in New York, at Northwestern University in Evanston Ill., and at the Cincinnati University Conservatory of Music where he teaches courses every year. His frequent concert activity throughout the world continues, and his many records (Emi, Nonesuch, Ricerca, etc.) are being joined by a new series of CDs recorded for the Stradivarius record company, the last of which are dedicated to Manuel Maria Ponce and to Johann Sebastian Bach. In 2004, he received an honorary degree in music from the University of Hartford, Connecticut. Among the most illustrious students from various parts of the world, he especially cites: Eliot Fisk, Marcin Dylla, Shin-Ichi Fukuda, Stefano Grondona, Letizia Guerra, Sharon Isbin and Elena Papandreou. He teaches guitar at the Accademia Musicale Chigiana since 1976.
Alessano di Lecce 1945
Linda Calsolaro was born in Alessano di Lecce. Led by her father, she began studying guitar as a child. She soon revealed her precocious talent, which led her to perform in national theaters and on television broadcasts. At the young age of 14, she was admitted to the advanced specialization courses of the Accademia Chigiana in Siena held by Andrès Segovia and Alirio Diaz, and attended them for 5 years until graduating. Subsequently, thanks to the Pastor Foundation, she studied in Santiago de Compostela with Segovia himself and José Tomas. About her, tt has been said that, “Among guitarists, she is the one who is most prepared to continue the art of Andrés Segovia, for her ability and musical sensitivity”. The winner of numerous competitions, including the Alessandria Competition and the 1963 Ischia International Festival, she has played throughout Europe and recorded for numerous radio and television stations. She held the specialization course in Guitar in Lanciano (International summer courses), Lagonegro and Catania. In 1983, she founded the “Regional Guitar Center”, which soon became a national reference point for concert, cultural and research activities, as evidenced by the establishment of the Andrés Segovia Festival in 1989. In February 2002, to celebrate the memory of the Master of Linares, Linda Calsolaro promoted the “Euridice Project” with the honorary presidency of Emilia Segovia, which supports performances, concerts and higher education. Since 1967, Linda Calsolaro has been teaching classical guitar at the “Niccolò Piccinni” Conservatory for 35 years. She was awarded the “Golden Guitar“ prize for teaching.
Senio Alirio Diaz
He was born in Siena and devoted himself to the study of the guitar, led by his father Alirio and later by the masters Umberto Incutti, Angelo Amato and Carlo Carfagna, obtaining a diploma at the “Santa Cecilia” Conservatory in Rome.
He attended the composition courses of masters Carlo Cammarota and Armando Renzi at the Pontifical Institute of Sacred Music in Rome, and the orchestral conducting course of the master Sergiu Celibidache in Trier, Germany.
Already a teacher at the Conservatory of Caracas, Senio Alirio Diaz also teaches at the Giuseppe Martucci Conservatory in Salerno and at the International Academy of Music of the Alirio Diaz Foundation in Rome.
For several years he has successfully dedicated himself to concerts, performing as a soloist, in duo with his father, and in various chamber ensembles in the main Italian and foreign musical centers, including the National Academy of Santa Cecilia, the University Concert Institute in Rome, the Teresa Carreno Theater of Caracas, the Maison de l’Amerique Latine of Paris, the Presidencial Orchestra of Ankara, the Royal Academy of London, the National Theater of Helsinky and Washington University.
He is often invited as a soloist to perform with the Venezuelan Youth Orchestras conducted in the early years by Jose Antonio Abreu, founder of El Sistema.
He is often present among the juries of the most important national and international guitar competitions. He is vice-president of the Fundacion “Alirio Diaz” which actively works at an intercontinental level for the dissemination of guitar music with particular attention to the Latin American repertoire. He is the founder of the “Alirio Diaz” National Competition, which takes place annually in Venezuela and of the “Alirio Diaz” International Competition for young guitarists established in Rome, in 2012. As a sign of esteem, for his recognized artistic merits, in 1986, Andrès Segovia gave him a Fleta guitar with which he currently performs.
Carora, Venezuela 1923 – Rome 2016
Both classical guitarist and composer, he is considered to be one of the most important guitarist-composers in South America. A student of Andrés Segovia, Alirio Diaz has given concerts all over the world. He is the dedicatee of the international guitar competition Concurso Internacional de Guitarra Alirio Díaz and a large number of compositions for guitar, such as “Invocación y Danza” by Joaquìn Rodrigo.
In 1945, he began studying music at the Escuela Superior de Música with Raul Borges. Since 1950, he performed with growing success throughout Venezuela, particularly distinguishing himself at a concert held in the capital to celebrate the bicentenary of the death of Johann Sebastian Bach (1685-1750), of whom he performed the famous “Chaconne” from Match no. 2 in D minor BWV 1004.
In 1950, he received a scholarship from the Venezuelan government to continue his studies in Madrid, where his fame as a concert performer grew and spread. In Spain, he established important relationships with the main interpreters and composers of the time, such as Piego Gerardo, Joaquin Rodrigo, Moreno Torroba, Garcia Nieto, Narciso Yepez, Emilio Pujol, Daniel Fortea, Eugenia Serrano, Federico Monpou, Xavier Montsalvage and Joaquin Achucarro.
The following year he moved to Italy, to Siena, where he studied with Andrés Segovia at the Accademia Musicale Chigiana. Alirio Diaz impressed the Maestro with his flawless technique and boundless repertoire, so much so, that he assisted Segovia in 1957 during the specialization courses that he himself had attended, as well as, from 1960 to 1963, eventually succeeding him in teaching at the Sienese Institution in 1964. His intense concert career has led him to perform in the most prestigious concert halls in Europe, both as a soloist and with symphonic orchestras directed by Sergiu Celibidache, Leopold Stokowski, Antonio Estévez, Andre Kostelanetz, Rafael Frühbeck de Burgos and Jose Iturbi. A constant in his guitar recitals was the juxtaposition of works from the Baroque repertoire with works by living Latin American composers, such as Antonio Lauro, Vicente Emilio Sojo and Augustin Barrios Mangoré.
Constantly traveling between Italy and Venezuela, he collected many testimonies of popular music, which proved useful in the production of arrangements, with which he enchanted audiences from all over the world. He has published a book entitled “Música en la vida y lucha del pueblo venezolano” (Music in the life and struggle of the Venezuelan people) and has written articles in numerous Venezuelan newspapers and magazines, an activity described in his autobiographical work “Al divisar el humo de la aldea nativa ”(Seeing the smoke from the native village).
INTERNATIONAL PRIZE Accademia Musicale Chigiana 1996
Concert by the winner of the International Prize
Hagen Quartet string quartet
Music by: Lutosławski, Webern, Mozart.
Concert from 16 July 1996
15th edition of the International Prize “Accademia Musicale Chigiana”
Chiesa di Sant’Agostino
Witold Roman Lutosławski
Warsaw 1913 – 1994
String Quartet (1964)
Introduction – Principal Movement
Vienna 1883 – Mittersill, Austria 1945
Six Bagatelles for string quartet op.9 (1913)
Leicht lebhaft (Leggermente mosso)
Ziemlich fließend (Piuttosto scorrevole)
Sehr langsam (Molto lento)
Äußerst langsam (Estremamente lento)
Wolfgang Amadeus Mozart
Salzburg 1756 – Vienna 1791
String Quartet in D min. K.421 (1783)
Allegro moderato – Andante – Minuetto – Allegro ma non troppo
|00:00||W. R. Lutosławski Quartetto per archi. Introduzione|
|24:02||A. Webern Sei bagatelle per quartetto d’archi op.9. Mäßig (Moderato)|
|24:40||Leicht lebhaft (Leggermente mosso)|
|25:14||Ziemlich fließend (Piuttosto scorrevole)|
|25:50||Sehr langsam (Molto lento)|
|26:46||Äußerst langsam (Estremamente lento)|
|30:07||W. A. Mozart Quartetto per archi in re minore K. 421. Allegro moderato|
|47:25||Allegro ma non troppo|
|56:49||G. Verdi Luisa Miller riduz. per quartetto d’archi|
|59:54||piece to be identified|
|01:03:53||W. R. Lutosławski Quartetto per archi. Introduzione|
Lukas Hagen violin
Rainer Schmidt violin
Veronika Hagen viola
Clemens Hagen cello
The Hagen Quartet is considered to be one of the best string quartets. Founded by Lukas, Angelika, Veronika and Clemens Hagen, fifteen years later, at the time of recording, the concert held at the Accademia Musicale Chigiana was performed by the formation consisting of Lukas Hagen, violin; Rainer Schmidt, violin; Veronika Hagen, viola; and Clemens Hagen, cello. Since then, the four members of the Hagen Quartet have continued to carry out a regular concert performances.
Their most recent CD, dedicated to Mozart’s Quartets K 387 and K 458, was awarded the Diapason d’or, the Choc of Classical Magazine, and the ECHO Klassik 2016 for the best chamber music recording of works from the 13th through 17th century.
During the 2016/17 season, the Quartet performed the 6 Haydn Quartets of op. 76 in Amsterdam, Cologne, Tokyo, Vienna, Florence, and at the inauguration of the new Pierre Boulez Hall in Berlin. In Madrid, in April 2017, they performed the new quintet for clarinet and strings by Joerg Widmann.
In 2011, the Quartet celebrated its 30th anniversary with a CD published by Myrios Classics with works by Mozart, Webern, Beethoven, Grieg and Brahms (Quintet with clarinet with Widmann).
Awarded by ECHO KLASSIK as the best ensemble of the year 2011, in 2012, the Quartet was made an honorary member of the Vienna Konzerthaus.
The Hagen Quartet began their exceptional career in 1981, immediately marked by victory in several international competitions, and by an exclusive contract with the Deutsche Grammophon Gesellschaft, a record company for which the Quartet has recorded 45 CDs. Many collaborations with famous musicians, such as: Nikolaus Harnoncourt, György Kurtág, Maurizio Pollini, Mitsuko Uchida, Sabine Meyer, Krystian Zimerman, Heinrich Schiff and Joerg Widmann, were to follow.
Their vast repertoire extends from Haydn to Kurtág and the Quartet frequently works closely with composers of its generation, including commissioning new works.
For many young emerging quartets, the Hagen Quartet represents a model of quality, stylistic plurality, and commitment in the execution of the pieces of composers chosen for the individual programs. The quartet are instructors at the Mozarteum in Salzburg and at the Hochschule in Basel, and thus pass on their great experience to younger colleagues.
Since 2013, the Quartet has been playing a quartet of instruments by Antonio Stradivari, the so-called “Paganini” quartet, generously made available by Nippon Music.
ROSALYN TURECK PLAYS BACH
Rosalyn Tureck, piano
Music by: Johann Sebastian Bach
Concert from 28 March 1997
74th Concert Season Micat in Vertice
Palazzo Chigi Saracini
Eisenach 1685 – Leipzig 1750
from The Well-Tempered Clavier (Book I)
prelude and fugue n.1 in C major BWV 846
prelude and fugue n.2 in C minor BWV 847
Capriccio on the departure of a beloved brother in B flat major BWV 992
- Arioso: Adagio – ‘Friends Gather & Try to Dissuade Him from departing’
- (Andante) – ‘They Picture the Dangers Which May Befall Him’
- Adagiosissimo (or Adagissimo) – ‘The Friends’ Lament’
- (Andante con moto) – ‘Since He Cannot Be Dissuaded, They Say Farewell’
- Allegro poco – ‘Aria of the Postilion’ (Aria di postiglione)
- ‘Fugue in Imitation of the Postilion’s Horn’ (Fuga all’imitazione della cornetta di postiglione)
English Suite n.3 in G minor BWV 808
Preludio – Allemanda – Corrente – Sarabanda – Sarabanda (con abbellimenti della stessa sarabanda) – Gavotta I e Gavotta II – Giga
Fantasia in C minor BWV 906
Symphony in F minor BWV 795
Italian Concerto in F major BWV 971
Allegro – Andante – Presto
one of the Goldberg variations
Prelude in E flat minor
ROSALYN TURECK piano
|00:00||Clavicembalo ben temperato (Libro I). Preludio e Fuga n.1 in do maggiore BWV 846|
|05:25||Preludio e Fuga n.2 in do minore BWV 847|
|08:50||Capriccio sopra la lontananza del fratello dilettissimo. Arioso: Adagio|
|14:09||Allhier kommen die Freunde (weil sie doch sehen, dass es anders nicht sein kann) und nehmen Abschied|
|15:51||Fuga all’imitatione della cornetta di postiglione|
|18:38||Suite inglese n. 3 in sol minore BWV 808. Preludio|
|28:18||Les agréments de la même Sarabande|
|31:44||Gavotta I e II|
|39:32||Fantasia in do minore|
|44:40||Sinfonia in fa minore|
|48:28||Concerto italiano in fa maggiore BWV 971. Allegro|
|01:02:14||da Variazioni Goldberg BWV 988|
|01:04:14||Clavicembalo ben temperato (Libro I). Preludio n. 8 in mi bemolle minore BWV 853|
Chicago 1913 – New York 2003
Tureck is one of the greatest musical personalities of the twentieth century.
Her extraordinary interpretations of Johann Sebastian Bach’s musical production for keyboard instruments are the repositories of a profound vision and research. Although she performed Bach on numerous and varied instruments (clavichord, harpsichord, organ and even Moog and Theremin synthesizer – the inventor was a pupil of hers), her piano performances were an inspiration for many generations of pianists to come, including Glenn Gould, who, after following a recital of his in Toronto, declared that Rosalyn Tureck was the only pianist he admired.
An interpreter, teacher, director, scholar, author and lecturer, Rosalyn Tureck founded the International Bach Society in New York in 1966 and the Tureck Bach Institute, in 1981, to promote research and interpretation of Bach’s music. In 1993, in Oxford, she founded the Tureck Bach Research Foundation. Immediately after her return to New York, in 2001, she reconfigured the Tureck Bach Institute into the Tureck Bach Research Institute, with the aim of supporting research and interpretation of Bach’s repertoire with grants and awards, as well as, promoting the publication her academic works. She also supported the foundation of the biennial Tureck International Bach Competition for Young Pianists, directed by her former student Golda Vainberg Tatz. Among her many students are guitarist Sharon Isbin and Russian violinist and conductor Rimma Sušanskaja, who conducts an annual music festival in Stratford-upon-Avon, Great Britain.
Rosalyn Tureck was a lecturer in various schools, institutions and universities: the Juilliard School of Music, Mannes School of Music, Columbia University and University of Maryland. In 1970, she was named a fellow at St. Hilda’s College, Oxford, and in 1973, she was a visiting researcher at Wolfson College, Oxford.
She has given recitals, masterclasses and lectures all over the world.
Although mainly known for her memorable interpretations of the Bach repertoire, Roslayn Tureck has also performed numerous works by contemporary authors such as Aaron Copland, Luigi Dallapiccola, David Diamond, Arnold Schoenberg, and William Schuman, many of which were composed especially for her.
A pupil of Jan Chiapusso, a Dutch pianist from Java in the West Indies; and Sophia Brilliant-Liven, a pupil of Anton Rubinstein, in Chicago; and Olga Samaroff at the Juilliard School; she made her orchestral debut performing Brahms’ Second Piano Concerto accompanied by the Philadelphia Orchestra directed by Eugene Ormandy. She was the first woman to conduct the New York Philharmonic in concert, she established the Tureck Bach Players in London (1957), and in 1985, she gave a series of six concerts at Carnegie Hall for Bach’s tricentennial.
Her honors include an honorary doctorate from Oxford University (1977) and the Kommandeur Kreuz of the Federal Republic of Germany (2002). In addition to the institutes and foundation mentioned above, Rosalyn Tureck is the founder of the Composers of Today in New York City 1949-53 and the Institute of Bachian Studies in New York.
Rosalyn Tureck continued giving concerts, lectures and editing publications until shortly before her death. In the last months of her life she completed essays and analyses on The Goldberg Variations and Bach’s Interpretation, the latter being a revised and expanded version of her previous three-volume work An Introduction to the Performance of Bach (Oxford 1960) . She also wrote an autobiography, in which her extraordinary career is detailed, Rosalyn Tureck: A Life with Bach, published posthumously (Pendragon Press 2019).
Rosalyn Tureck’s art lives on through her numerous recordings made for VAI, DGG, EMI, BBC and Sony and the audio testimonials of live concerts, as in the case of this concert held in 1991 at the Accademia Musicale Chigiana Concert Hall.