- F. Liszt (1811-1856), Valse de Faust de Gounod S. 407
- A. N. Skrjabin (1872-1915), Sonata n. 3 in Fa diesis minore, op. 23 Drammatico – Allegretto – Andante – Presto con fuoco
- N. Rota (1911-1979), Fantasia in Sol
- S. Prokofiev (1891-1953), Sonata n. 7 in Si bemolle maggiore, op. 83 – Allegro inquieto – Andante caloroso – Precipitato
A star indeed shining brightly at Piano City Pordenone with twenty year old Elia Cecino,winner two years ago of the prestigious Premio Venezia.He has been studying since the age of 9 with Maddalena De Facci which he continues to do, perfecting his studies together with Andrzej Jasinski and Eliso Virsaladze in Fiesole.Liszt Faust fantasy was just the ravishing opening to a formidable performance of Scriabin’s 3rd Sonata.
Franz Liszt held a lifelong fascination with the Faust legend and it is no wonder then that Liszt admired Charles Gounod’s operatic treatment of the legend based loosely on Goethe’s Faust, Gounod’s five act grand opera premiered in Paris at the Théâtre Lyrique on March 19, 1859. Liszt composed his piano transcription of two numbers from the opera in 1861, near the culmination of his time in Weimar.It is based on the waltz scene that concludes Act I and the love-duet, O nuit d’amour between Faust and Marguerite in Act II, Liszt freely borrows from Gounod’s music and elaborates in his own inimitable way.The waltz opens the piece with open fifths on the dominant and uncertain of its tonality similar to the Mephisto Waltz n.1.Eventually dissolving to the love-duet, a melodious Andantino in A-flat major, an untainted depiction of love.The pace gradually returns leading to the waltz with a virtuosistic coda incorporating some material from the introduction.And demonic it was from the very first notes with Elia plunging headlong into the fray with playing of such rhythmic energy and passionate involvement.Followed by scintillating jeux perlé with reams of notes of jewel like precision that just glittered and glowed in his sensitive hands.The love duet was played with sumptuous sounds and a ravishing sense of balance leading to the tumultuous climax and triumphant finale.All brilliance and light just contrasted with the deep brooding motif that pervades Scriabin’s 3rd Sonata.
His performance of Scriabin I have recently spoken about.Nobility was mixed with ravishing beauty as the architectural shape of this great fantasy unwound in a performance of such intelligence and passionate involvement.His performances of Scriabin and Prokofiev I have written about recently :https://christopheraxworthymusiccommentary.wordpress.com/2021/03/16/elia-cecino-a-star-is-born/
A fascinating Fantasia in G by Nino Rota was a revelation of clarity and line.I have never heard it before and not knowing the programme I tried to guess who the composer could be.Khachaturian and Shostakovich sprang to mind in a performance that was remarkable for its utmost clarity and rhythmic drive .Certainly a worthy addition to the piano repertoire and hats off to this young musician who delves deep into the archives to find some rare baubles ready to be turned into gems in his magic hands. It was only recently discovered among the last manuscripts to be examined in the Nino Rota archive in Venice and together with the “15 Preludes” it is one of his few works for piano solo. It was composed in the oppressive atmosphere of the last years of the war the first and closing sections conjure up a feeling of late Romanticism from the distant past, while the middle section is characterised by melancholy melodies typical of Rota.
Prokofiev’s 7th Sonata was played with such clarity and rhythmic energy that the rather ‘hollywoodian’ Andante caloroso came as a relief from the pungent,biting energy of this sonata from his war trilogy.Even here the precipitato slipped in almost unnoticed until the relentless driving force brought the final tumultuous eruption to its inevitable conclusion.
Called back for two encores not known to me.The first I presume by Scriabin of ravishing beauty and poetry and the second a Prelude and fugue by Shostakovich of such clarity and energy that they just summed up better than any words could ,the extraordinary artistry and curiosity of this remarkable young musician
Dal 2014 Elia Cecino si esibisce con continuità in recital solistici e cameristici spaziando nel repertorio presso numerose sale europee. Si è proposto da solista con la Sinfónica de Galicia, Düsseldorf Symphony Orchestra, Sichuan Philarmonic, Bacau Philarmonic, FVG Orchestra, Orchestra Vivaldi di Morbegno, Joven Orquesta Leonesa, Orchestra Concentus Musicus Patavinus, Orchestra San Marco di Pordenone. Nel 2016 ha preso parte a un tour di concerti negli Stati Uniti.
Nel 2020 Suonare Records pubblica il suo CD di debutto, e nel 2021 un secondo album Chopiniano viene pubblicato da OnClassical. Sue interpretazioni e interviste sono state trasmesse da Rai Radio 3, Radio Popolare, Rai FVG e Radio MCA. É stato tra i protagonisti della trasmissione TV di Rai 1 “Prodigi” a favore dell’Unicef.
Vincitore del XXXVI Premio Venezia, Elia si è affermato in concorsi internazionali tra i quali spiccano il Ciudad de Ferrol, Pozzoli di Seregno, Casagrande di Terni, Schumann di Düsseldorf, Luciani di Cosenza, Città di Albenga, Isidor Bajic di Novi Sad, Chopin di Budapest, Marciano di Vienna. Nato nel 2001, Elia comincia lo studio del pianoforte a 9 anni con Maddalena De Facci diplomandosi a 17 con votazione 10 e Lode presso il conservatorio di Cesena. Attualmente si sta perfezionando con Eliso Virsaladze e Andrzej Jasinski.