A concert under the title Homage to Ludwig 1770 and presented for the season of Mestre-Venice in Teatro Toniolo.It was streamed live on the 30th and 31st December at 20.30 , presented by Mario Brunello (winner of the Tchaikowsky International Competition in 1986).Ever generous he was giving a platform to three of the most talented artist of their generation.
Luca Giovannini (2000),Elia Cecino (2001),Giulia Rimonda(2002),in the name of Beethoven.A concert recorded just two days before Beethoven’s actual 250th birthday on the 16th December 1770.
And what better way than with one of the best known of the Trios to unite these three young musicians in an absorbing musical conversation.
It was Barenboim who exclaimed that when musicians get together they don’t make conversation but they make music .
They get to know each other in a far greater way than they ever would with words.
And so it was today with the first dynamic notes fired at us with all their youthful passion and rhythmic drive that created a call to arms from the very first notes. Beethoven’s pupil Carl Czerny wrote in 1842 that the slow movement of the Trio in D major op.70n.1 reminded him of the ghost scene at the opening of Shakespeare’s Hamlet, and this was the origin of the nickname.It features themes found in the second movement of Beethoven’s Symphony No. 2 too.A deeply felt Largo assai ed espressivo where each of these young artist were looking at each other with searing commitment as they created such magical sounds.The Presto was played with a freshness and simplicity with a smile on Giulias face as she passed the notes to Luca who in turned shared them with Elia.
This was indeed a fine homage to Beethoven and to a youthful hope for the future!
But it had been prefaced with a short piece each in which they took it in turns to talk and then play with the great Italian cellist.Luca was playing the cello that had brought Mario Brunello his triumph in Moscow in 1986.An Ansaldo Poggi of 1927 generously on loan to this aspiring young cellist.Brunello now plays a Maggini of the 1600’s.
Elia had played a piece for piano and cello by the Russian Shchedrin.A spirited and stylish performance where Brunello had shown his unique sense of rubato and subtle colouring.
Not Love Alone (also translated Not for Love Alone or Not Only Love; Russian: Не только любовь ; Ne tol’ko lyubov’) is the first opera of Rodion Shchedrin (Russia 1932), written 1961, revised in 1971
A well-known piece from this opera (usually played by cello and piano) is the humorous Quadrille from the second Act (Scene 15: The arrival of Varvara Vasilyevna and quadrille).
Luca Giovannini played a work by the Ukrainian Silvestrov for two cello’s with infact Brunello’s two cellos blending so well together in the hands of his young passionate protogée.
Valentyn Silvestrov (Ukraine 1937)8.VI.1810…zum Geburtstag R. A. Schumann for two cellos (2004) realizes the composer’s goal for a “cello four-hands,” expanding the instrument’s possibilities by turning it inward. A feeling of euphoria locks flesh with shadows. Dances flit by like opportunities for melodic escape, while their after-images seek reciprocation in the listening. Lechner and Vesterman accordingly hang their spirits on easels and mark them with every brushstroke of the bow.
It was the beautifully elegant Giulia Rimonda who played a short piece by another Ukrainian composer with great musicianship and sense of enjoyment.
Victoria Polevà (Ukraine 1962) Gulfstream (2010) for violin and cello