What follows is the second part of the interview with italian accordionist Francesco Gesualdi, director of GAMO in Florence and accordion teacher at the Conservatory “Domenico Cimarosa ” in Avellino (…)
Among your many projects, there is a duet with Luigi Attademo, one of the most renowned Italian guitarists. What’s this, what is the music on which you work and the contexts in which you propose?
To this question I answer with great pleasure: I and Luigi (Attademo) play for more than ten years together. We have formed our duo project with the clear and decided to run for guitar and accordion – instrumental ensemble by combining old-fashioned tone, at least in the cultured – original music specially written for us. In the time we have consolidated a great friendship, thanks to our cultural similarities and our common vision of making music. We did many things together: among all quote our tour in Australia , supported by an important Italian institution which is the CEMAT and its project Sonora. Our goal was to bring our experience in Duo not only in theaters, in the Seasons of concerts, but also in contexts such as Universities, musical and cultural institutions. In fact we have played, as well as in the prestigious Auditorium of the National Gallery of Victoria in Melbourne, Monash University Auditorium, where universities have also held, for the composition classes, a lecture about literature and writing for accordion and guitar. We played at the University of Melbourne, in Sydney for the Italian Institute of Culture, and for SBS Radio in Australia.
Wrote to us guitarist and composer Dusan Bogdanovic, composers Alessandro Solbiati, Mauro Cardi, Thomas Reiner, Alessandro Magini (the piece of Magini there is also an incision very good in my opinion – EMArecords), Giancarlo Cardini.
Can you talk about the shows Dino Campana and Breath, in which she performed the music?
These quotes are projects that I have had a satisfactory critical acclaim and executive. The project is a decennial collaboration I have with the composer Alessandro Magini. I met him for the first time in 2002 and since then Magini has written extensively accordion music that I was dedicated and I premiered: solo accordion, accordion and guitar (for my Duo with Attademo); accordion baritone and oboe (for Futurism in the suburbs designed by me), accordion and organ (which I recorded with Magini executor organ), accordion and cello (commission Teatro Metastasio in Prato), mezzo-soprano, cello and accordion, the latter Trio about the project Campana. All of this music was newly engraved on a disk Ema Records. The project is a musical journey that traces the poetry of one of the greatest Italian poets of the early twentieth century. Campana has traveled in poetry and in the world with the same restlessness, the native Marradi – between the Tuscan- Emilian mountains – to Paris, Buenos Aires and Montevideo, in Genoa. The music that crossed his poems were chosen, says Magini, for “contrasts and similarities” in the repertoire (including cultured and popular) between 800 and 900. The show includes the alternation, seamless, of “musical arrangements, for voice, cello and accordion, Arie – Chansons – Tangos -Lieder” with original instrumental interludes, written by Alessandro Magini for the same instrumental combination.
Breath – an appropriate title (nomen omen!) for a piece for accordion – is the result of my request to the Roman composer Mauro Cardi of making the play by Samuel Beckett, Breath of the same title, a piece of music for accordion and live electronics, a composition independent of the structure of the play by Irish playwright, but that would inspire its contents.
A text, that of Samuel Beckett, without characters, without words, which is the detailed description of a scene, a director of lights, is an indication of acoustic elements. All for a total duration of 35 seconds. When I found out for the first time this work of Beckett, the author of which I am passionate, I was impressed and seduced, I immediately thought that this work would represent the right idea for the development of a musical project. The piece was written in 2007 – after seven minutes – on commission of the ancient festival of “Summer Fiesolana” and I ran it for the first time in the same year premiered at the Teatro Romano di Fiesole, in front of a thousand people. I tell you the truth, contemporary music in front of a thousand people, on that occasion. Since 2007 I have had the good fortune, merit, the pleasure of playing it many times, in some of the most important musical centers, the last time for the format developed by Real Time TR_MICRO center of music-search – new production technologies Florence, founded by Luciano Berio.
What are the repertoires – among the many which you devoted yourself – who have seen you busier?
The directories that are frequent especially those related to early music and contemporary music, musical styles temporally distant but so often so close and for issues related to the design of sound for the most closely related to the practice of composition.
Among the more recent programs have played music of Gubaidulina (Petrassi Hall Auditorium of Rome – Concert Season “Contemporary” Parco della Musica Contemporanea Ensemble) and Hosokawa (Festival GAMO of Florence), on the occasion of monographic concerts in the presence of the composers. To the Friends of Music of Ancona – on the occasion of the centenary of the birth of this important Society Concert – I played the world premiere of the final composition Mauro Cardi – Friends of Music Board – for soprano, violin, electric guitar, accordion, double bass, percussion and voice. The narrator was an actor of race as Carlo Cecchi, a major chunk of the Italian Theatre. Project that we replicated in Florence at the Teatro Goldoni live on Rai Radio3. I would also like to highlight the work done on the music and the theater of Mauricio Kagel, I played everything he has written for accordion and chamber music with accordion, including his 1972 piece for five accordions, even pushing me to interpret his works of “Theatre of execution”, as a performer. Among the many concerts that I did, dedicated to Kagel, of course I like to remember what made for the 2010 Venice Biennale.
Can you tell us about what project are you working in this period?
I’m working on a whole new program for accordion and vocals that will realize very original with a singer that I admire very much, this is the soprano Laura Catrani, with which I am forming a stable Duo.
I am preparing a program, this all-new, all made of first performances, for accordion and electronics, where I started working in Germany last summer, in residence at the ZKM center in Karlsruhe. The program will provide for six new compositions for accordion and electronics, three German and three Italian authors are writing for myself and for my project.
In April I will start recording my album, for an interesting record label, which will be released in early 2015, but the recording project I’d love to talk more in depth on the occasion of its release, if you will give me the chance.
I will continue to be the ECHP Accordion Ensemble in residence at the Parco della Musica in Rome, directed by Tonino Battista.
The next March will play for the Mercy Foundation of Turchini of Naples, on the occasion of their concert season 2013/14. Execute music by Frescobaldi, the world premiere of a new composition for accordion that the Italian composer Stefano Gervasoni has written to me, and yet the music of Gubaidulina and Aldo Clementi.
Before concluding this interview, let me remember and pay tribute to an important cellist, who passed away recently (January 31, 2014), a great interpreter with whom I have had the pleasure and the honor of playing sieben worte Sofia Gubaidulina. It is Alexander Ivashkin. A great musical personality, he has collaborated with the most important composers of the twentieth century and was directed by leading directors. He has composed music for Alfred Schnittke. Hello Alexander!
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