{"id":70038,"date":"2014-03-11T09:00:28","date_gmt":"2014-03-11T08:00:28","guid":{"rendered":"http:\/\/www.gbopera.it\/?p=70038"},"modified":"2017-02-09T14:31:31","modified_gmt":"2017-02-09T13:31:31","slug":"christophe-dejardins-teodoro-anzellottirepertoire-revisited","status":"publish","type":"post","link":"https:\/\/www.studioroldo.it\/gbopera\/christophe-dejardins-teodoro-anzellottirepertoire-revisited\/","title":{"rendered":"Christophe Dejardins & Teodoro Anzellotti:Repertoire Revisited"},"content":{"rendered":"

Verona. Teatro Ristori. Verona Amici della Musica Society,\u00a0 2013\/2014 Concert Season.
\n<\/em>Viola\u00a0<\/em> C<\/strong>hristophe Desjardins<\/b>
\nAccordion\u00a0Teodoro Anzellotti\u00a0<\/b>
\nJohn Dowland:<\/em> “Flow my Tears”
\nBenjamin Britten:”<\/em> Lachrymae”, Reflections on a song of Dowland op.48
\nJohann Sebastian Bach<\/em>: Sonata for viola da gamba\u00a0 in G min. n\u00b03 BWV 1029
\nMarco Stroppa:<\/em> “Nous sommes l’air, pas la terre”…
\nFranz Schubert:<\/em> 6 lieder from the Winterreise<\/i> Song Cycle D.911 op. 89
\nWilhelm Friedemann Bach:\u00a0<\/em> Sonata in C minor
\nVerona. 6th<\/sup> March, 2014.<\/i><\/p>\n

The concerts proposed by the Amici della Musica Society in their 2013-14<\/strong> winter season, present internationally acclaimed artists and chamber music formations in programmes which range from the purely traditional and established, to the extremely original and innovative, offering stimulating comparisons and parallels regarding both repertory and instrumentation.\u00a0 In the most recent concert, on 6th<\/sup> March, two renowned performers, the violist, Christophe Desjardins,<\/strong> and the accordionist Teodoro Anzellotti<\/strong> united to form an original and unusual combination. Both performers, prestigious soloists in the European Contemporary music scene have brought their individual\u00a0 cultural and linguistic experience to the endeavour.\u00a0 Anzellotti’s bravura has been a fundamental contribution in having the accordion accepted in the classical music world. Their programme contained a rereading of 18th<\/sup> century works of the traditional viola repertory, replacing the harpsichord accompaniment with the piano accordion, the 20thcentury Britten masterpiece for viola, substituting the accordion for the piano, harp or string orchestra accompaniment, a reworking of 6 lied from Schubert’s Winterreise, and a contemporary composition by Marco Stroppa written expressly for these two instruments.
\nIn a conference, before the concert, Desjardins, assisted by Anzellotti and Stroppa<\/strong> , traced the history of the viola repertory from the baroque to the present, as an introductory background to his present efforts in extending the technical, musical and expressive possibilities of the instrument.\u00a0\u00a0 What transpired, was his desire to explore the viola\/ keyboard genre from a fresh point of view, and to shift the accepted perceptions. This he did with particular attention to the tone colour capabilities and performing techniques of the two instruments.
\nWith disarming simplicity, they preceded the Britten Lachrimae with the brief statement of the Dowland madrigal<\/strong> on which it is based. Britten’s superb ten variations on a theme, gave ample scope to the two instruments to exploit all their available characteristics, from the intrinsically melancholy and nostalgic nature of both, with their imitation of lutes and viols,\u00a0 to the wildest and passionate\u00a0 passages\u00a0 of defiance and the myriad range of colour effects.\u00a0 The structural rigour was balanced by the\u00a0 tone colour definitions and, in its most tender moments, a particularly warm and sweet\u00a0 singing viola sound in a fine performance.
\nThe Winterreise<\/em> selection, seemed orphaned by the lack of its all important text. And notwithstanding the virtuosity, the delicacy and levity of Anzellotti’s touch,\u00a0 and his tasteful imitation of organ registers, together with Desjardins elegant musicianship, the Bach G minor sonata, and to a lesser degree the W.F. Bach Sonata were not always convincing.\u00a0 Marco Stroppa<\/strong>‘s\u00a0 work, Nous sommes l’air, pas la terre…, was <\/i>presented informatively before the performance, allowing the public to follow it with a more focused awareness.\u00a0 In contrast to the other works on the programme which played on the complementary qualities of the two instruments, Stroppa’s work concentrates on the fusion of the two instruments’ sounds. Their voices are indistinguishable.\u00a0 They blend, superimpose, spin away in various states of fission as conceived by the composer.\u00a0 The artists demonstrated absolute technical mastery and musical imagination in rendering justice to this significant work, which together with the Britten was the highlight of the evening. The concert was received warmly by the audience who were rewarded by a Haydn encore.Foto Brenzoni<\/em><\/p>\n

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Verona. Teatro Ristori. Verona Amici della Musica Society,\u00a0 2013\/2014 Concert Season. Viola\u00a0 Christophe Desjardins Accordion\u00a0Teodoro Anzellotti\u00a0 John Dowland: […]<\/p>\n","protected":false},"author":105,"featured_media":70040,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[8716,931,10040,14678,9354,2426,488,10041,9348,9865,10042],"class_list":["post-70038","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-senza-categoria","tag-amici-della-musica-di-verona","tag-benjamin-britten","tag-christophe-dejardins","tag-concerti","tag-foreign-readers","tag-franz-schubert","tag-johann-sebastian-bach","tag-john-dowland","tag-marco-stroppa","tag-teodoro-anzellotti","tag-wilhelm-friedemann-bach"],"_links":{"self":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/70038","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/users\/105"}],"replies":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/comments?post=70038"}],"version-history":[{"count":0,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/70038\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media\/70040"}],"wp:attachment":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media?parent=70038"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/categories?post=70038"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/tags?post=70038"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}