Ilaria Cavalleri – Roma Tre Young Artists Piano Solo Series – War and Peace with integrity and artistry

Ilaria Cavalleri gave a recital in the Young Artists Piano Series where Roma Tre Orchestra opens its doors to young musicians in that difficult period at the start of a career in music.
Young musicians who have dedicated their youth to perfecting their art and are just looking for a public to share it with and in sharing be able to delve deeper into the mysteries of interpretation.
Ilaria from the school of Maurizio Baglini and Davide Cabassi has already been selected to play for the Keyboard Trust in London and from this first happy experience will be performing for them in France this Summer.

Her ‘Hunt’ was brilliant and rhythmic but already in furious mood as the normally ‘pastoral’ opening was given a drive and energy that denied the usual grace and charm of the Viennese countryside where Beethoven was wont to calm his turbulent character.The ending was thrown off ,though,with the nonchalant grace that Beethoven prescribes in the score and it was in the scherzo that followed ,that Ilaria had come to terms with this very imposing instrument.The Scherzo was played with lightness like a breath of fresh air as she played with dynamic control and scrupulous attention to Beethoven’s very precise markings.The almost Schubertian outpouring of song in the Menuetto made a beautiful contrast as her sense of balance allowed the melodic line to sing so naturally.It was only disturbed by some rather unwanted pointing of counterpoints that although made for variety was an intrusion to the simplicity that she had revealed.The seemingly innocent Trio that Saint Saens had taken as the theme for his variations for two pianos could have been much less serious with the same frivolity that Saint Saens had obviously discovered and pilfered!An ending calando not ritardando as Beethoven implores but very often ignored by lesser hands.The last movement ‘presto con fuoco’ was like a red rag to the bull and Ilaria played it with drive and superb technical control.All Beethoven’s markings were scrupulously noted that was not easy at this velocity .I was missing ‘bucolic’ and the pastoral feel of a bubbling brook that obviously Ilaria had seen in a different light,probably encouraged by the ‘Rolls Royce’ placed before her hands today.I look forward to hearing her performance again on a period instrument.An instrument similar to Liszt’s own Erard .Liszt was a pupil of Czerny who in turn had been a pupil of Beethoven.Beethoven had famously kissed the child Liszt on the forehead after listening to the prodigy play. Ilaria will play a concert in Velletri on the 16th April in the series ‘Liszt non solo’ of Ing.Giancarlo Tammaro

A slender young lady who would grace any dance floor unleashed an unexpected attack on the piano.
War and Peace indeed as she played an important programme with dynamic rhythmic drive and total concentration.
Allowing the music to unfold with intelligence and a musical integrity that never allowed any indulgence or crowd pleasing niceties.
This was an artist who had absorbed the message that was hidden behind the notes which was especially noticeable in the mighty Chaconne by Gubaidulina and above all in the first of Prokofiev’s ’War’ Sonatas.A force and energy like a tempest passing through this mighty rationalist hall aided and abetted by the magnificent Fazioli concert grand seated at last on a magic carpet!

The magnificent Fazioli at home on this magic carpet

Ilaria was indeed in furious mood as she imbued Beethoven’s usually pastoral Sonata op 31 n 3 with driving rhythmic energy and dynamic contrasts.
This was indeed a ‘Hunt’ to be reckoned with as she even split driving rhythmic elements between the hands to give more impulse to her fiery temperament.
A Berceuse by Filidei allowed her a moment of calm as she allowed chiselled icicles to evaporate over the gentle vibrations from deep in the piano with a kaleidoscopic sense of colour

After some towering performances she even had enough energy left to offer her very enthusiastic audience an encore of Chopin’s mighty C minor study op 25 n.12 sometimes known as the ‘Ocean’.

Prokofiev’s mighty sixth sonata was played with dramatic rhythmic drive dissolving to an atmospheric melodic line clouded in the smoky and steamy atmosphere of the pedal.A towering melodic line screaming to get out from the centre of the piano with shots being fired all over the keyboard in a transcendental display of balance and colour.There was a beguiling sense of dance in the Allegretto and a strangely static ‘tempo di valzer’.A sumptuous string sound gave a respite from the full orchestra of the outer movements where brass and violence were acted out with deadly precision.The perpetuum mobile of the vivace showed a total command of the keyboard.A wild dance played with furious abandon but with great contrasts of dynamics and some magical quasi Bartokian sounds in the quieter contrasting passages.

These were indeed tumultuous waves played with sumptuous sound and driving energy.Even a slight wrong turning was immediately put on the right track as her professionality was as impeccable as her artistry.A programme that left the public drained but uplifted by such prodigious talent. I have a feeling ,though,that Ilaria could easily have sat down and repeated it all over again.
Appearances can be deceptive but true artistry and personality will always shine through .

Nata nel 2001, Ilaria Cavalleri è una giovane pianista bresciana. Nel 2021 consegue la laurea di I livello in pianoforte presso il Conservatorio “L.Marenzio” di Brescia con votazione
110 e lode. Attualmente frequenta il Conservatorio “G.Verdi” di Milano nella classe del M°Davide Cabassi e studia anche con il M°Maurizio Baglini.
Nel 2019 ha ricevuto da Ubi Banca il premio Giovane Talento dell’anno, istituito dalla banca stessa e assegnato dal Conservatorio di Brescia nell’ambito del 56° Festival Pianistico di Brescia e Bergamo.
Si è esibita per The Keyboard Charitable Trust a Londra, presso il DAI di Heidelberg, per la Società dei Concerti di Milano, presso Bank Austria Salon e Steinway Haus in Vienna, per il Festival Pianistico di Brescia e Bergamo nelle serate dedicate ai giovani talenti del Conservatorio; per il Teatro Verdi di Pordenone; per Piano City Milano, presso l’Università della musica di Varsavia, per il Teatro Grande di Brescia; per la società Filodrammatica
Cremonese; per RomaTreOrchestra presso il Teatro Palladium, il Museo Napoleonico e il Teatro Torlonia.
Nell’estate 2022 è stata selezionata per partecipare alla Vienna Piano Summer School 2022, organizzata da International Piano Foundation Theo and Petra Lieven of Hamburg, che le ha permesso di studiare con importanti Maestri quali Tatiana Zelikman, Arie Vardi e Ronald Brautigam. Ha frequentato masterclass pianistiche con i M° Riccardo Risaliti, Agnieszka Przemyk-Bryla, Federico Colli, Tatiana Larionova e masterclass di musica da camera con M° Enrica Ciccarelli e Silvia Chiesa.

Lovely Ilaria with CA co artistic director of the Keyboard Trust
Music is also fun at Roma 3

Francesco Filidei (Pisa 1973 ) è un compositore e organista italiano Allievo di Salvatore Sciarrino ,dopo essersi diplomato in organo al Conservatorio di Firenze si è specializzato in composizione al Conservatoire de Paris È stato membro dell’IRCAM della Casa de Velazqueze dell’Academia Schloss Solitude a Stoccarda.Le sue opere, edite da Rai Trade e Ars Publica, sono state eseguite da diverse orchestre come l’Itinéraire, Alter Ego, Cairn, L’Instant donné, le Nouvel Ensemble Modern, Court-Circuit, l’Ensemble intercontemporain, le Percussions de Strasbourg, il Klangforum Wien.Alcune sue composizioni sono state trasmesse da Rai 3 e Radio France .Filidei cerca con le sue opere, come ha affermato Sciarrino ,di immaginare una musica privata dell’elemento sonoro, facendo rimanere solo lo scheletro, un suono leggero ma ricco.Come organista è conosciuto come interprete di Franz Liszt di cui ha interpretato la produzione integrale per tale strumento. Ha suonato come solista alla Filarmonica di Berlino al Festival d’Automne a Parigi ,al Festival Archipel a Ginevra,Ginevra, alla Biennalle di Venezia et a l’Ircam

Francesco Filidei

Francesco Filidei (born 1973)is an Italian concert organist and composer. A student of Salvatore Sciarrino he has performed internationally. As a composer, he has collaborated with singer-songwriter Claire Diterzi and written operas premiered in Porto and Paris. His music has been performed by notable contemporary music ensembles. His Japanese wife, Noriko Baba is also a composer.He performs in concert, playing works by Franz Liszt ,Cesar Franck as well as his own compositions and much contemporary music for organ and piano, in Italy and abroad. In 1998, he was awarded the S. Taddei Annual Scholarship and in 2004 the Meyer Prize and in 2007 the Takefu International Composition Award.In his compositions, Filidei tries – as Sciarrino says – “to imagine a music that has lost the sound element”.

Sofia Asgatovna Gubaidulina born 24 October 1931) is a Soviet Russian composer and an established international figure. Major orchestras around the world have commissioned and performed her works.She is considered one of the foremost Russian composers of the second half of the 20th century.She studied composition and piano at the Kazan Conservatory, graduating in 1954. During her early conservatory years, Western contemporary music was banned nearly entirely from study, an unusual exception being Bartok. Raids even took place in the dormitory halls, where searches were conducted for banned scores, Stravinsky being the most infamous and sought after. Gubaidulina and her peers procured and studied modern Western scores nonetheless. “We knew Ives,Cage ,we actually knew everything on the sly.”In Moscow she undertook further studies at the Conservatory until 1963. She was awarded a Stalin fellowship.Her music was deemed “irresponsible” during her studies in Soviet Russia, due to its exploration of alternative tunings.She was supported, however, by Dmitri Shostakovich who in evaluating her final examination encouraged her to continue down her path despite others calling it “mistaken”.For Gubaidulina, music was an escape from the socio-political atmosphere of Soviet Russia.

Gubaidulina in 1981

For this reason, she associated music with human transcendence and mystical spiritualism, which manifests itself as a longing inside the soul of humanity to locate its true being, a longing she continually tries to capture in her works.These abstract religious and mystical associations are concretized in Gubaidulina’s compositions in various ways.An influence of improvisation techniques can be found in her fascination with percussion instruments. She associates the indeterminate nature of percussive timbres with the mystical longing and the potential freedom of human transcendence :’… percussion has an acoustic cloud around it, a cloud that cannot be analyzed. These instruments are at the boundary between palpable reality and the subconscious, because they have these acoustics. Their purely physical characteristics, of the timpani and membranophones and so on, when the skin vibrates, or the wood is touched, respond. They enter into that layer of our consciousness which is not logical, they are at the boundary between the conscious and the subconscious.Gubaidulina’s entire piano output belongs to her earlier compositional period and consists of the following works: Chaconne (1962), Piano Sonata (1965), Musical Toys (1968), Toccata-Troncata (1971), Invention (1974) and Piano Concerto “Introitus” (1978). Some of the titles reveal her interest in baroque genres and the influence of J.S.Bach.Gubaidulina notes that the two composers to whom she experiences a constant devotion are J.S. Bach and Anton Webern.The Steinway grand piano she has in her home was a gift from Rostropovich.She has been married three times.

Sergei Prokofiev with Mira Mendelson.

Sergei Prokofiev’s Piano Sonata No. 6 in A major, Op. 82 (1940) is the first of the Three War Sonatas it was first performed on 8 April 1940, in Moscow with the composer at the piano. The Piano Sonata No. 7 in B♭ major, Op. 83 (1942) (occasionally called the “Stalingrad”) is the second (and most famous) of the three “War Sonatas” ,it was first performed by Sviatoslav Richter on 18 January 1943 in Moscow .The Piano Sonata No. 8 in B♭ major, op. 84 is the third and longest of the three ‘war Sonatas’. He completed it in 1944 and dedicated it to his partner Mira Mendelson who later became his second wife and was first performed on 30 December 1944, in Moscow by Emil Gilels


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