Concert April`s Artist of the Month Mario Brunello (cello) World famous Mariinsky Ballet and Opera Theatre - Opera and Concert Hall
Schedule for April`s Artist of the Month Mario Brunello (cello) 2022
Composer: Johann Sebastian Bach Composer: Antonio Vivaldi Cello: Mario Brunello Cello: Francesco Galligioni Lute: Ivano Zanenghi Organist: Roberto Loreggian
Orchestra: Mariinsky Theatre Symphony Orchestra
Johann Sebastian Bach–Antonio Vivaldi.
Concerto in D major. Arrangement for cello Antonio Vivaldi.
Four Sonatas for solo cello Giovanni Sollima.
Spassimo
With the participation of Francesco Galligioni (cello), Ivano
Zanenghi (lute), Roberto Loreggian (organ, keyboards)
The history of the cello sonata genre may be traced back over three
centuries. In the latter half of the
17th century in Western Europe, primarily in France, Italy and
Germany, music for strings had reached unknown levels of perfection.
The first works for cello in the sonata genre belong to composers
including Boccherini, Marcello and Vivaldi in Italy, Berteau, Francoeur and
the Duport brothers in France and Bach and his sons and Handel
in Germany. Early sonatas stood out for their polyphonic structure, for
example a sonata trio (for three instruments: violin or flute, viola da
gamba and harpsichord). When the lead role was taken over by one “voice”
with a strong melody and the others took on an accompanying role
the sonata for solo instrument with an accompaniment became the most
important. In the baroque era sonatas were one of two kinds:
the chamber sonata (sonata da camera) consisting of preludes,
ariosos and dances in various tonalities, and the church sonata
(sonata da chiesa) which was intended for religious purposes. In
the music of Antonio Vivaldi (1678-1741)
the sonata has an important role, albeit unequal to that of
the concerto. Works in the genre include both sonata trios for
various ensembles and solo cycles – examples of chamber and church sonatas.
The composer had a marked preference for the violin and the cello
among solo instruments. It is believed that the Six Sonatas for
Cello and Basso Continuo, Op. 14, were published in 1740
in Paris by Leclercq. In the 17th century
their revival had come about due to French music historian Henri Pruniиres in
whose collection they were found. Antonio Vivaldi’s cello sonatas
demonstrate a subtle link between church music and chamber music. The lofty
character of the music, the contrast in tempo between
the sections (slow-fast-slow-fast) and the abundance of elements
of counterpoint bear witness to this link with the church sonata. At
the same time, the predominance of dance forms indicated a connection
with the chamber sonata. I line with a practice common at
the time, there are several possible ways of performing the basso
continuo (thoroughbass) in these sonatas: either on the organ or on
the harpsichord, as well as by doubling the lower register of this
role of the second cello.
Giovanni Sollima (b. 1962) is an Italian composer and
cellist. He was born in a family of musicians and studied the cello
under Giovanni Perriera and composition with his father, Eliodoro Sollima.
Giovanni Sollima’s works are in the minimalist music style. Nonetheless,
the composer actively experiments with different genres: jazz, rock,
electronic music, the folklore of Sicily and countries of the Mediterranean
basin. He is enthusiastic about performing on instruments from both East and
West, electric and electronic instruments and instruments he himself has
invented. Giovanni Sollima is one of the greatest Italian cellists and,
despite his classical training, he has reinvented this instrument, offering
audiences all kinds of experiments with sound. His pieces for cello often have
programme subheadings. Such works include
Spassimo (the name of a church with frescoes
by Rafael, half destroyed during the war).
Schedule for April`s Artist of the Month Mario Brunello (cello) 2022
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