«Everything in these pages is a sorrowful confession, serene wisdom transformed into sound, enlightened knowledge of beauty, happiness, and the transience of life» (Paumgartner). Mozart completed his final notes for Concerto K 622 in October 1791, just weeks before his untimely death, and there is no telling what other musical wonders he could have created, had he not passed away so soon. This clarinet masterpiece is now performed by Simone Nicoletta, an Italian talent who honed his skills in the “workshop” of the Cherubini Orchestra. The model that inspired Schubert’s overture in 1817, composed in a Vienna dominated by the genius of Rossini, is also Italian. Indeed, Italy’s interaction and exchanges with Europe were never interrupted: for example, witness Catalani’s Wagner-inspired poetic flow (1878), or Busoni’s bold innovations on Carlo Gozzi’s play (1905).

The Programme

A small ensemble for big musical challenges. Four soloists from the legendary Vienna Philharmonic, accompanied by a piano, have joined forces to reinvent the concept of the orchestra with their strikingly original performance choices. The Viennese ensemble loves to take its audiences on unexpected and electrifying journeys through eras and musical styles that are seemingly far apart: from the great classics to pop music, film, and ballet; from grand opéra to French chansons or the klezmer repertoire. Not just the usual crossover, but a virtuoso challenge based on surprising combinations and highly sophisticated practices. A Mission Possible, as stated in the title of their first album, released in 2018, when the “Phil Five” embarked on their adventure as a quintet in Wien, the world capital of great music.

The Programme

Ian Bostridge and Julius Drake, undoubtedly two of the most authoritative interpreters of the Lied repertoire, are called upon to follow in the footsteps of the eccentric and adventurous Romantic poet George Gordon Byron. Here are the Hebrew Melodies, poems written to accompany music by Isaac Nathan, but also set by the likes of Schumann, Loewe and Beethoven. Also Wilhelm Müller, the author of the texts for Schubert’s cycles Die schöne Müllerin and Winterreise, was well acquainted with the work of the English poet and, like him, supported the cause of Greek independence. If Byron’s verses flow through the history of 19^th century Lied like a karst river, his presence will be acknowledged through a reading of his poems by the writer and literary critic Lucasta Miller.

The Programme

The Po Valley was evangelised during the first centuries of Christianity, which explains why the most important cities here often share the same founding martyr saints. For example, the memory of Saint Apollinaris, the proto-bishop whom Ravenna chose as its patron saint and whose remains it still preserves, is also solemnly celebrated in Venice, in the Basilica of Saint Mark, on 23 July. In 1670 the choirmaster of the Venetian Basilica, Giovanni Legrenzi, was probably commissioned to compose for the occasion. Born in Bergamo, Legrenzi was a key figure in the development of instrumental music, laying the foundations for its success in the following century. And although it is not certain that Antonio Vivaldi was his pupil, he certainly listened to his music and adopted its basic features.

The Programme
The Texts

An extraordinarily fecund relationship links the Italian ‘new music’ of the post-war period with history. Luigi Nono, in particular, used technology to rethink sound emission techniques, reverberation, and the relationship with space. He traced this approach back to the ancient Venetian tradition, which he explored in Das atmende Klarsein, now entrusted to two of his faithful collaborators, Roberto Fabbriciani and Alvise Vidolin. This meditation on death, edited by Massimo Cacciari, draws on Rilke’s Duino Elegies and on texts inscribed on Orphic tablets found in the tombs of deceased mystery-cult initiates. Death and the relationship between the human and the divine are also explored in the vocal counterpoint inspired by the Holy Week Office of Tomás Luis de Victoria, a great Spanish composer who worked in Rome during Palestrina’s time.

The programme

Orazio Vecchi, the choirmaster in the cathedral of Modena between the 16^th and 17^th centuries, was one of the few who knew how to bend the expressiveness of the polyphonic madrigal towards the comic, loading it with a popular theatricality that was unprecedented in the Renaissance practice of “singing upon the book”. His literary influences were not the popular poets of the time, such as Tasso, Guarini, and Petrarch, but rather vernacular poets like Giulio Cesare Croce, the author of the adventures of Bertoldo. In his ‘harmonic comedy’ L’Amfiparnaso, characters like the stuttering old miser Pantalone, his servant Predolino, the classic lovers’ couple, and the pedantic Graziano are featured. Vecchi’s theatre is built on endless allusions, while the music supports and encourages the free mixing of sound, song, acting, dance and pantomime. Not surprisingly, all specialties of the Commedia dell’Arte.

The programme