"Concord-Sonata" : il sogno avverato

"Concord-Sonata" by Charles Edward Ives : il monumento pianistico del Novecento. 

inizio studio sotto la guida del Maestro Bruno Mezzena nel gennaio 1993 all'interno del Corso di Alto Perfezionamento di Conegliano V.to

marzo 1995 prima esecuzione pubblica a memoria presso l'Auditorium dell'Istituto Musicale "A.Benvenuti" di Conegliano.

13-14 maggio 1995 : Seminario "L'interpretazione della musica pianistica del nostro secolo" tenuto dal compositore Giacomo Manzoni

partecipazione in qualità di esecutore all'interno del miglior gruppo di pianisti della scuola di Bruno Mezzena (Giampaolo Stuani, Domenico Codispoti, Matteo Valerio ... solo musica pianistica del 1900!!!)

Giacomo Manzoni : "Beh ... si merita un applauso!" a conclusione della mia esecuzione a memoria della "Concord-Sonata"

registrazione su Pianoforte Steinway&Sons : 14-15 maggio 1998 all'interno della Pieve Proto-Romanica di San Martino, Palazzo Pignano, Cremona (dopo le 22 per evitare il canto degli uccellini, solo con tracks interi !!!). Tecnico del Suono Marco Tajo.

pubblicazione Cd 31 ottobre 2002 Trento. Label Symposion 1SCL0602

Napoli, Villa Pignatelli-Cortès : 9 aprile 2000 mio recital pianistico

C.E.Ives : "Concord-Sonata" // Studies for Piano Nos. 5-20

Festival Pianistico "Il Pianoforte nel XX secolo"

Ho suonato la "Concord-Sonata" a : Conegliano, Riva del Garda, Pescara ("Varianti"), Villàr Perosa, Sant'Antioco, Napoli, Locarno.

Questo è il bellissimo link con cui nel maggio 2005 Scott Mortensen ha recensito il mio Cd della Concord-Sonata. Il link è stato in seguito inserito sul sito www.musicweb-international.com con enorme orgoglio da parte mia!!!

http://www.musicweb-international.com/Ives/RR_Piano_Sonata_2.htm

Ecco invece il link del 26 dicembre 2012 nel quale Joe Barron ha recensito il mio Cd della "Concord-Sonata" all'interno del suo blog Liberated Dissonance.

http://liberateddissonance.blogspot.it/2012/12/another-concord.html

Il N.H. Generale Michele Amorosi, mio Colonnello Capo Ufficio O.A.I.O. al Comando Brigata Cor. "V.Veneto" nel 1987 in Villa Opicina TS, in proposito, come Augurio per l'Anno 2014 mi ha appena scritto:

"... ho sempre creduto nelle tue innate capacità, pari alla tua serietà e senso dell'amicizia ..."

16 maggio 2018
Kyle Gann "Charles Ives' Concord. Essays After A Sonata"
Illinois University Press

pgg. 428 sgg.

31 luglio 2019
Discography | charlesives.org
Yale University of Music, Yale University Library, New Haven CT

Il my Cd e' presente nel volume di Kyle Gann e al link Discography | charlesives.org grazie a James Sinclair, New Haven Connecticut.
😊😊😊😊😊😊🎹💿🎧🎶🎶🎶🎹🎶🎶🎶🎶

Brig, Kanton Wallis h 9.30

Venerdi 14 agosto 2020.
Venerdi 9 luglio 2021 h 9.30 (trovati in stazione 30 chf direttamente da Automato Distributore Tickets)

AUGURI per il Nuovo Anno 2014... in MUSICA!

"....grazie del tuo affetto e felicitazioni per l'ingresso al Conservatorio di Ferrara. E' un successo ben meritato che premia la tua professionalità, la tua costanza, la tua passione."

Giovanni Piazza, 1° gennaio 2014.

"...I wish you all the best for Christmas and New Year and hope to see you in Katowice."

Anna Malikova, 23 dicembre 2013.

...in Conservatorio da...Docente di Pianoforte

http://www.conservatoirevs.ch/fr/le-conservatoire/

... im Kanton Wallis... in HEMU a Sion con i pianisti del MAS - Perfezionamento Alta Formazione Musica Pianistica Americsna del 1900

http://www.conservatorioferrara.it/index.php/homepage/notizie/ultimissime/331-candidati-idonei-bando-giovanissimi

... a Ferrara... con i giovani pianisti nella classe di Propedeutica del Pianoforte
del Conservatorio Statale di Musica "G.Frescobaldi" - Daniel Strano ammesso a 9 anni al percorso Pre-Accademico di Pianoforte classe m.° roberto russo

...ad Omegna VCO sul Lago d' Orta per il quarto anno consecutivo come docente di Pianoforte secondo strumento al Liceo Musicale "P.Gobetti" - nomina da Graduatoria d'Istituto  (1° in  GI  AJ55)

24th, September 2018, roberto

Inedit-Duo plays in Bellerive canton Vaud

http://mmbellerivevd.com/inedit-duo-le-8-9-12/

21.08.2012
Christoph Züber interviewed Anna Lisa and Roberto on Biel's harbour. He made a wonderful on-web DVD video  announcing their piano-four-hands Concert in Bellerive canton Vaud.

08.09.2012
they played Gershwin's songs and Piazzolla's tangos, all musics arranged for piano-duet by Anna Lisa.

the Concert was succesfully!!!

... senza limiti...

Fletcher sospiro'... E li scruto' con occhio critico. "Allora cominceremo dal volo orizzontale."...

dreamsaresuchstuff...

24.09.2004 prima nomina cattedra Pianoforte SMIM
... Isola Bella catturata dal Lungo Lago di Stresa... il golfo Borromeo in tutto il suo splendore cristallino con le soffici nubi a far da cornice ad un tal dipinto "celestiale"...

24.09.2008 ... Anna Lisa Fergola collega di Pianoforte

30/31.10.2009 recording session in Preganziol (TV), Sala Gialla del Magister Studio di Velut Luna
24.02.2010 pubblicazione Cd  (Velut Luna CVLD 186)

Lungo Lago di Stresa, dove i sogni sono divenuti realtà... from the Lake to... Sounds' Falls!

24.09.2004 - 14.04.2015
SMIM "C.Rebora" - Stresa VCO
Docente di Pianoforte

1st, July 2018, roberto

LEO ORNSTEIN : history can be surprisingly fickle.

by Roberto Ramadori, 2014

In his comparatively brief heyday – from about 1910 to 1925 – Leo Ornstein was the five-foot-four giant of modern music in America. Carol Oja, in the recent book Making Music Modern describes him as "the single most important figure on the American modern-music's scene in he 1910s".

Born in Russia around 1893, he was recognized as a prodigy at an early age. In 1907, because of the Russian pogrom, he arrived with his family in New York City, and he met Pauline Mallet-Prevost, herself a fine pianist, whom he would marry in 1918. She would became his lifelong collaborator, and musical scribe. He continued his piano studies with Mrs. Bertha Fiering Tapper. She, in 1910, accompained him on his first foreign tour and introduced him to important musical figures throughout Europe.

His New York debut took place in 1911, with a completely conventional program. However, within a few years he was dazzling New York audiences with works of Albeniz, Schoenberg, Debussy, Ravel, Scriabine, and Bartok, many of which he first performed in the U.S.A. He also created a furor with his own radical compositions. Ironically, having been irrevocably labelled as a radical, he was now unwilling to bend to the demands of his own image. Instead he insisted on writing in whatever style seemed demanded by the music itself.

Towards the end of the 1920s, at the height of a successful concert career, he stopped performing in order to devote himself more fully to teaching, until the mid 1950s, and to composing in whatever manner he saw fit, and until his death in 2002. Whitin a few years after he stopped performing, most of the music world forgot about him. Thanks in part to a paper and an interview (1977) by Vivian Perlis of Yale University, and to the first modern recordings of his music, in the 1970s there began to be a resurgence of interest. Since then there have been celebratory-concerts from time and today musicians increasingly perform his music both in the U.S.A. and elsewhere. Despite this, many of his compositions have never been heard in public. In 1975, he was awarded with the Marjorie Peabody Waite Award from the National Institute of Arts and Letters.

The dominant feature of Ornstein's personality was a costant restless energy. It shows itself not only throughout his music and in its variety, but also in the progress of his life. He left that the most important music gift lay in powerful melodic lines. Everything else could be learned, but a gift for melody you either had or you didn't.

Leo Ornstein's method of composing was also unusual. He heard the work complete in his mind. All that was required was its performance or notation. There could even be a long gap between the original inspiration and the copying down of the music for Ornstein trusted his memory completely. However he didn't care for the process and it fell to his wife to act as musical stenographer and her performed work. But, when she finally insisted that they notate the first three Piano Sonatas, it was too late, Ornstein could not recall them, so is new Piano Sonatas where written only from 4^th to 8^th.

For example, the Eight Piano Sonata (1990) shifts between styles having the inner movements naive and unpretentious, while the outer movements are powerful and brusque.

Pauline Ornstein, writing about her husband's music and attempting to explain the Janus faces, differentiated "a-tonal" and "multi-tonal" works.

"Both are discordant – she writes on her memorial -, which is an easily recognized feature, but the difference lies in a far subtler area. The internal pressures and conflicts of many co-existing keys – like in most famous Suicide in an Airplane - , provide movement, variety, and contrasts as opposed to the relative sterility and inertia of one all-embracing chromatic tonality".

Writings.

• Oja, Carol, J., Making Music Modern: New York in the 1920s, Oxford University Press, 2000.

• Perlis, Vivian, and Van Cleve, Libby, Composers' Voices from Ives to Ellington, An oral History of American Music, Yale University Press, 2005.

"Sounds' Falls" American Grand Piano

SOUNDS' FALLS - AMERICAN GRAND PIANO 

L'immagine del nostro Cd "Sounds' Falls" è davvero Magica... sa riassumere nei colori e nelle forme

le musiche che abbiamo scelto!!! è stato un periodo molto intenso e bellissimo di studio ed esecuzione per la preparazione alla registrazione del Cd!!! e l'immagine scelta tra quelle di Lena Rebecca per la copertina raccoglie in se tutti i nostri entusiasmi!!!

Anna Lisa e Roberto played Sounds' Falls au Canton Jura, Suisse Romande

20 dicembre 2012. Salle Roc-Montès, Le Noirmont

Tempi of my "Concord-Sonata" (Stephen Kennamer)

Stephen Kennamer - Fort Defiance, Virginia

...about my "Concord-Sonata"... TEMPI

"The importance of a slow Tempo for the "Concord" should be obvious to every sensitive musician: the texture is complex and the amount of detail is staggering. [...] In all four movements but especially in "Emerson", we need to hear the motives clearly, which are often contrapuntally combined. Ives is extremely dissonant, but rarely atonal. The half-dozen or so revolving motives of "Emerson" are all diatonic, even excessively so. No matter how recalcitrant the vertical dimension may be to analysis, horizontally we have a clear diatonic melody that is bathed in dissonance. We have to hear all the strands of the politonality and of course polyphony and let them act on one another. Too fast a Tempo diminishes this effect and replace it with a blur of aggressively discordant texture. What is interesting about your "Tempi" is that none of them sounds slow. [...] It always sound natural, as if the music is arising naturally and composing itself as it goes - which is exactly how it should sound. Your approach is especially important for "Emerson", but it works in all the movements. I do not want to single out a "best" movement, but I recall reading one comment that favoured "Thoreau". I do have to admit that this movement seemed especially revelatory to me, ...your ending is profoundly realized. [...] I am grateful to you for your immersion in this amazing work."

2013, December 13th.
Stephen Kennamer
Composer and former Music Critic, Richmond Times-Dispatch (Richmond, Virginia)