My chamber music programs
Chamber music programs
My chamber music programs
Chamber music is part of my personal history: having a brother and a sister who are musicians made the desire to play together feel natural, almost inevitable. It was never an activity separate from the rest of my journey, but rather a way of experiencing music as a continuous exchange, based on listening and dialogue.
The programs in this section stem from this attitude, as well as from the curiosity and desire to explore different timbral and dialogic possibilities, bringing together diverse instruments and languages, but always with the goal of emphasizing the power of musical sharing.
Chamber music is part of my personal history: having a brother and a sister who are musicians made the desire to play together feel natural, almost inevitable. It was never an activity separate from the rest of my journey, but rather a way of experiencing music as a continuous exchange, based on listening and dialogue.
The programs in this section stem from this attitude, as well as from the curiosity and desire to explore different timbral and dialogic possibilities, bringing together diverse instruments and languages, but always with the goal of emphasizing the power of musical sharing.
Chamber music is part of my personal history: having a brother and a sister who are musicians made the desire to play together feel natural, almost inevitable. It was never an activity separate from the rest of my journey, but rather a way of experiencing music as a continuous exchange, based on listening and dialogue.
The programs in this section stem from this attitude, as well as from the curiosity and desire to explore different timbral and dialogic possibilities, bringing together diverse instruments and languages, but always with the goal of emphasizing the power of musical sharing.
There are pieces for violin, clarinet, trumpet, larger ensembles, and even a melologue with reciting voice. Each offering reflects interests that have naturally intertwined over time.
In this case too, transcription plays an important role, sometimes recreating the atmosphere of a nineteenth-century salon where friends would gather to relive the emotions of opera, the rougher and more sparkling sounds of Gershwin, or the reinterpretations by virtuosos who thrilled audiences by reworking well-known pieces with their extraordinary instrumental skills.
Puccini 100
with Corrado Giuffredi - Principal clarinet of the Orchestra della Svizzera Italiana, an eclectic virtuoso known for the vocal quality of his sound.
The 19th century in Italy - and indeed across Europe - marked the golden age of operatic paraphrases and transcriptions. This flourishing tradition stemmed from a cultural desire (which soon became established practice) to recreate the dramatic atmospheres of opera - the dominant art form of the time - within the intimate setting of private salons. Even the grandest noble residences, though some had maintained private orchestras during the previous century, could not fully reproduce operatic productions domestically.
Michele Mangani offers us four transcriptions from Puccini's most beloved operas: La Bohème, Tosca, Madama Butterfly, and "Nessun dorma" from Turandot. Each paraphrase artfully weaves together the most significant and recognizable themes from these operas
Puccini 100
Concert fantasies by Michele Mangani
Puccini 100
with Corrado Giuffredi - Principal clarinet of the Orchestra della Svizzera Italiana, an eclectic virtuoso known for the vocal quality of his sound.
The 19th century in Italy - and indeed across Europe - marked the golden age of operatic paraphrases and transcriptions. This flourishing tradition stemmed from a cultural desire (which soon became established practice) to recreate the dramatic atmospheres of opera - the dominant art form of the time - within the intimate setting of private salons. Even the grandest noble residences, though some had maintained private orchestras during the previous century, could not fully reproduce operatic productions domestically.
Michele Mangani offers us four transcriptions from Puccini's most beloved operas: La Bohème, Tosca, Madama Butterfly, and "Nessun dorma" from Turandot. Each paraphrase artfully weaves together the most significant and recognizable themes from these operas
Puccini 100
Concert fantasies by Michele Mangani
Puccini 100
with Corrado Giuffredi - Principal clarinet of the Orchestra della Svizzera Italiana, an eclectic virtuoso known for the vocal quality of his sound.
The 19th century in Italy - and indeed across Europe - marked the golden age of operatic paraphrases and transcriptions. This flourishing tradition stemmed from a cultural desire (which soon became established practice) to recreate the dramatic atmospheres of opera - the dominant art form of the time - within the intimate setting of private salons. Even the grandest noble residences, though some had maintained private orchestras during the previous century, could not fully reproduce operatic productions domestically.
Michele Mangani offers us four transcriptions from Puccini's most beloved operas: La Bohème, Tosca, Madama Butterfly, and "Nessun dorma" from Turandot. Each paraphrase artfully weaves together the most significant and recognizable themes from these operas
Puccini 100
Concert fantasies by Michele Mangani
The last Brahms
with Simone Nicoletta - Principal Clarinet of Teatro Comunale di Bologna | Soloist in Mozart's Clarinet Concerto under Riccardo Muti at Ravenna Festival
An immersion into the late Brahms, featuring the two Op. 120 sonatas for piano and clarinet alongside the four Op. 119 piano pieces.
A perhaps not too frequent opportunity to hear these masterpieces performed back-to-back—works that, without Brahms’s fortuitous encounter with clarinetist Richard Mühlfeld, might never have come to life. They are, in a sense, the unexpected blossoms of a final creative spring—surprising even to the composer himself.
Johannes Brahms
Sonata op. 120 n. 1 for clarinet and piano
4 Klavierstücke op. 119
Sonata op. 120 n. 2 for clarinet and piano
The last Brahms
with Simone Nicoletta - Principal Clarinet of Teatro Comunale di Bologna | Soloist in Mozart's Clarinet Concerto under Riccardo Muti at Ravenna Festival
An immersion into the late Brahms, featuring the two Op. 120 sonatas for piano and clarinet alongside the four Op. 119 piano pieces.
A perhaps not too frequent opportunity to hear these masterpieces performed back-to-back—works that, without Brahms’s fortuitous encounter with clarinetist Richard Mühlfeld, might never have come to life. They are, in a sense, the unexpected blossoms of a final creative spring—surprising even to the composer himself.
Johannes Brahms
Sonata op. 120 n. 1 for clarinet and piano
4 Klavierstücke op. 119
Sonata op. 120 n. 2 for clarinet and piano
The last Brahms
with Simone Nicoletta - Principal Clarinet of Teatro Comunale di Bologna | Soloist in Mozart's Clarinet Concerto under Riccardo Muti at Ravenna Festival
An immersion into the late Brahms, featuring the two Op. 120 sonatas for piano and clarinet alongside the four Op. 119 piano pieces.
A perhaps not too frequent opportunity to hear these masterpieces performed back-to-back—works that, without Brahms’s fortuitous encounter with clarinetist Richard Mühlfeld, might never have come to life. They are, in a sense, the unexpected blossoms of a final creative spring—surprising even to the composer himself.
Johannes Brahms
Sonata op. 120 n. 1 for clarinet and piano
4 Klavierstücke op. 119
Sonata op. 120 n. 2 for clarinet and piano
Intertwining: Verdi and Bottesini
Quartetto Platonic , with Simone Nicoletta, Francesco Platoni and Ivana Nicoletta
G. Verdi
Prelude from I due Foscari
Prelude from Macbeth
Sinfonia from Luisa Miller
G. Verdi - Prelude to the III Act of "I Lombardi alla prima Crociata" (vl. and pf.)
G. Bottesini - Gran Duetto for clarinet and double bass with piano
G. Verdi - Sinfonia from I Vespri Siciliani
G. Bottesini - Elegia for double bass and piano
F. Liszt - Paraphrase de concert sur Rigoletto
G. Verdi - Prelude to the III Act from La forza del Destino (cl. and pf.)
G. Bottesini - Gran duo concertante for violin, double bass, and piano
G. Verdi - Sinfonia di apertura from La forza del Destino
Intertwining: Verdi and Bottesini
Quartetto Platonic , with Simone Nicoletta, Francesco Platoni and Ivana Nicoletta
G. Verdi
Prelude from I due Foscari
Prelude from Macbeth
Sinfonia from Luisa Miller
G. Verdi - Prelude to the III Act of "I Lombardi alla prima Crociata" (vl. and pf.)
G. Bottesini - Gran Duetto for clarinet and double bass with piano
G. Verdi - Sinfonia from I Vespri Siciliani
G. Bottesini - Elegia for double bass and piano
F. Liszt - Paraphrase de concert sur Rigoletto
G. Verdi - Prelude to the III Act from La forza del Destino (cl. and pf.)
G. Bottesini - Gran duo concertante for violin, double bass, and piano
G. Verdi - Sinfonia di apertura from La forza del Destino
Intertwining: Verdi and Bottesini
Quartetto Platonic , with Simone Nicoletta, Francesco Platoni and Ivana Nicoletta
G. Verdi
Prelude from I due Foscari
Prelude from Macbeth
Sinfonia from Luisa Miller
G. Verdi - Prelude to the III Act of "I Lombardi alla prima Crociata" (vl. and pf.)
G. Bottesini - Gran Duetto for clarinet and double bass with piano
G. Verdi - Sinfonia from I Vespri Siciliani
G. Bottesini - Elegia for double bass and piano
F. Liszt - Paraphrase de concert sur Rigoletto
G. Verdi - Prelude to the III Act from La forza del Destino (cl. and pf.)
G. Bottesini - Gran duo concertante for violin, double bass, and piano
G. Verdi - Sinfonia di apertura from La forza del Destino
Un Petit Train de Plaisir
with Marco Pierobon - Principal Trumpet with Rome’s Accademia di Santa Cecilia Orchestra and the Chicago Symphony.
George Enescu
Legend
Nino Rota
Preludio XIII for piano
Suite from the ballet “La Strada”
The Godfather Suite
Nino Rota / Giuseppe Verdi
Valzer brillante from “The Leopard”
Gioacchino Rossini
Un Petit Train de Plaisir Comico-imitatif, da Péchés de vieillesse (vol. VI) for piano
George Gershwin
Three Preludes
Songs
Rhapsody in Blue
Un Petit Train de Plaisir
with Marco Pierobon - Principal Trumpet with Rome’s Accademia di Santa Cecilia Orchestra and the Chicago Symphony.
George Enescu
Legend
Nino Rota
Preludio XIII for piano
Suite from the ballet “La Strada”
The Godfather Suite
Nino Rota / Giuseppe Verdi
Valzer brillante from “The Leopard”
Gioacchino Rossini
Un Petit Train de Plaisir Comico-imitatif, da Péchés de vieillesse (vol. VI) for piano
George Gershwin
Three Preludes
Songs
Rhapsody in Blue
Un Petit Train de Plaisir
with Marco Pierobon - Principal Trumpet with Rome’s Accademia di Santa Cecilia Orchestra and the Chicago Symphony.
George Enescu
Legend
Nino Rota
Preludio XIII for piano
Suite from the ballet “La Strada”
The Godfather Suite
Nino Rota / Giuseppe Verdi
Valzer brillante from “The Leopard”
Gioacchino Rossini
Un Petit Train de Plaisir Comico-imitatif, da Péchés de vieillesse (vol. VI) for piano
George Gershwin
Three Preludes
Songs
Rhapsody in Blue
Gershwin Night
with Gomalan Brass - one of today’s leading brass quintets, renowned for their crossover programs and their passionate, playful interaction with audiences
George Gershwin
Rhapsody in Blue
An American in Paris
Songs
Suite from Porgy and Bess
Gershwin Night
with Gomalan Brass - one of today’s leading brass quintets, renowned for their crossover programs and their passionate, playful interaction with audiences
George Gershwin
Rhapsody in Blue
An American in Paris
Songs
Suite from Porgy and Bess
Gershwin Night
with Gomalan Brass - one of today’s leading brass quintets, renowned for their crossover programs and their passionate, playful interaction with audiences
George Gershwin
Rhapsody in Blue
An American in Paris
Songs
Suite from Porgy and Bess
Virtuosities and virtuosos
with Kevin Zhu - First Prize winner at the 2018 Paganini Competition in Genoa, at just 18 years old.
G. Gershwin - J. Heifetz - Porgy and Bess Suite
H. Wieniawski - Fantaisie brillante sur les motifs du ‘Faust’ de Gounod Op. 20
F. Schubert - Fantasy in C major D. 934, on the Lied “Sei mir gegrüsst”
N. Paganini - F. Kreisler - I palpiti Op. 13
Virtuosities and virtuosos
with Kevin Zhu - First Prize winner at the 2018 Paganini Competition in Genoa, at just 18 years old.
G. Gershwin - J. Heifetz - Porgy and Bess Suite
H. Wieniawski - Fantaisie brillante sur les motifs du ‘Faust’ de Gounod Op. 20
F. Schubert - Fantasy in C major D. 934, on the Lied “Sei mir gegrüsst”
N. Paganini - F. Kreisler - I palpiti Op. 13
Virtuosities and virtuosos
with Kevin Zhu - First Prize winner at the 2018 Paganini Competition in Genoa, at just 18 years old.
G. Gershwin - J. Heifetz - Porgy and Bess Suite
H. Wieniawski - Fantaisie brillante sur les motifs du ‘Faust’ de Gounod Op. 20
F. Schubert - Fantasy in C major D. 934, on the Lied “Sei mir gegrüsst”
N. Paganini - F. Kreisler - I palpiti Op. 13
Voci d’amore
Melologue with Diana Höbel, music by Claudio Rastelli – A widely toured production, with over thirty performances throughout Italy.
Loves lived and documented, legendary, mysterious, concealed, or invented. Music and words flow together, sharing biographical, aesthetic, psychological, and technical elements, guiding listeners into the intimacy of the lives and works of great composers in a crescendo of participation and empathy.
Seven evocative melologues for reciting voice and piano, composed by Claudio Rastelli, emphasize the sensitive dramaturgy and recitation by Diana Höbel. The melologues are interspersed with piano works by Schumann (Fantasiestücke op. 12), Schubert-Liszt (Erlkönig), Shostakovich (Sonata No. 2), Debussy (Six épigraphes antiques), Mozart (Duet Papageno/Papagena), and Wagner-Liszt (Isoldes Liebestod)
Voci d’amore
Melologue with Diana Höbel, music by Claudio Rastelli – A widely toured production, with over thirty performances throughout Italy.
Loves lived and documented, legendary, mysterious, concealed, or invented. Music and words flow together, sharing biographical, aesthetic, psychological, and technical elements, guiding listeners into the intimacy of the lives and works of great composers in a crescendo of participation and empathy.
Seven evocative melologues for reciting voice and piano, composed by Claudio Rastelli, emphasize the sensitive dramaturgy and recitation by Diana Höbel. The melologues are interspersed with piano works by Schumann (Fantasiestücke op. 12), Schubert-Liszt (Erlkönig), Shostakovich (Sonata No. 2), Debussy (Six épigraphes antiques), Mozart (Duet Papageno/Papagena), and Wagner-Liszt (Isoldes Liebestod)
Voci d’amore
Melologue with Diana Höbel, music by Claudio Rastelli – A widely toured production, with over thirty performances throughout Italy.
Loves lived and documented, legendary, mysterious, concealed, or invented. Music and words flow together, sharing biographical, aesthetic, psychological, and technical elements, guiding listeners into the intimacy of the lives and works of great composers in a crescendo of participation and empathy.
Seven evocative melologues for reciting voice and piano, composed by Claudio Rastelli, emphasize the sensitive dramaturgy and recitation by Diana Höbel. The melologues are interspersed with piano works by Schumann (Fantasiestücke op. 12), Schubert-Liszt (Erlkönig), Shostakovich (Sonata No. 2), Debussy (Six épigraphes antiques), Mozart (Duet Papageno/Papagena), and Wagner-Liszt (Isoldes Liebestod)