Live performances and listening of classical music from the musical collection of the same name<\/p>\n
Rimini, 20th August 2015 \u2013 \u201cSpirto gentil\u201d, sequence of musical live performances and listenings, from the CD collection of the same name, claims to retrace the choices made by father Luigi Giussani\u2019s in the musical field over more than fifty years of great educational activity.
\nFor him, music was first of all a powerful instrument to recall humanity, as need of accomplishment and aspiration towards totality. \u201cMusic too, like the heart \u2013 he wrote in the introduction of the CD collection \u2013 has its reasons\u201d. The name of the collection comes from the well-known aria from \u201cLa Favorita\u201d by Gaetano Donizzetti. That aria, he said, had lent a vibration of humanity in response to men\u2019s deepest desire: the quest for beauty, happiness, and freedom.
\nThe series listening guides starts the 20th August at 7 p.m. in Sala Neri CONAI, with \u201cOpera arias\u201d, selected and commented by Ermanno Calzolaio, professor in the University of Macerata.
\nIt follows the 23rd August, still at 7 p.m. in Sala Neri, the awaited live performance of selected pieces by Heitor Villa Lobos (1887-1959). Piero Bonaguri as lecturer and executer. The well-known soloist from Rimini has pressed, for \u201cSpirto Gentil\u201d, the entire works for guitar of the Brazilian composer, including Prelude no. 1 and Study no. 11 \u2013 two among father Giussani\u2019s favourite pieces – also executed by Bonaguri at the presence of John Paul II.
\nThird date, the 26th August with the famous F. Shubert\u2019s \u201cArpeggione Sonata\u201d, with the execution of the duo formed by Giulio Giurato at the piano and Andrea Nocerini at the cello. Musicologist Pier Paolo Bellini as lecturer.
\nThe Sonata in la minor for cello and piano \u00abArpeggione\u00bb D 821 dates back to 1824, the crucial year in Shubert\u2019s creative experience as instrumental music composer. It was also the year of Quartets, D. 802, and \u201cMaiden and Death\u201d, D. 810, as well as Octet, D. 803. In this very particular timbre \u2013 it is deductible from the writing and the form of this sonata \u2013 lies one of the founding elements of this composition. It is a set opera which can\u2019t amount to the coeval masterpieces, and yet unleashes a subtle but sure charm by using first and foremost the extraordinary lyrical invention, loaded by melancholy \u2013 a trait of the last Schubert\u2019s instrumental music. <\/p>\n
(M.T.)<\/p>\n","protected":false},"excerpt":{"rendered":"
Live performances and listening of classical music from the musical collection of the same name<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"_acf_changed":false,"rs_blank_template":"","rs_page_bg_color":"","slide_template_v7":"","footnotes":""},"mec_label":[9694],"class_list":["post-144809","comunicati-stampa","type-comunicati-stampa","status-publish","hentry","no-post-thumbnail"],"acf":[],"yoast_head":"\n