Chamber vocal music - The main purpose of the meetings of Sundays in music is to promote a more conscious listening to music through the commentary of the songs performed during the concerts and the proposal of homogeneous thematic paths that allow to deepen the topics also from a historical and general theoretical point of view. This year's cycle is aimed at exploring the genres of chamber vocal music in a journey that goes through the main epochs of the history of music from the sixteenth century to the present. It is commonly called "chamber" music composed for small sets of voices and / or solo instruments, to be performed in environments of not large dimensions and in front of a restricted audience. Such a destination usually involves a more intimate, reserved nature of music, and particular types of writing that are based on dialogue between the performers. Obviously the spaces and the recipients are not the same over the centuries: the court, the palaces of the aristocracy and the academies are the privileged locations of chamber music during the Renaissance and in the Baroque period, while the salons and the domestic environments prevail in the Nineteenth century, when, however, chamber music groups of professional musicians perform increasingly often in public concerts. This progressive specialization invests in particular the chamber music of the twentieth century, a century in which technical reproduction radically revolutionizes the ways of fruition of music, especially that of culture. This year's program of chamber vocal music illustrates the most representative genres such as the 16th century madrigal, the baroque cantata, the Lied and the lounge romance, also reserving ample space for the rich and multi-faceted production of the twentieth century. In addition to making significant works of art known, the series of meetings aims to offer the public - in view of a non-ephemeral dissemination of musical culture - some basic notions for understanding the complex relationship between music and text, where music he now tends to illustrate the meaning of words, now to express the affections, even pushing himself, in the daring experimentations of the twentieth century, to "play" with articulatory gestures, phonemes, with onomatopoeia.
January 14th - The 16th century madrigal introduces Milli Russo. Ecclesia vocal ensemble: Jennifer Schittino soprano, Alessandro Carmignani alto, Luciano Bonci tenor, Paolo Fanciullacci tenor, Marcello Vargetto basso.
P. Verdelot, G. De Wert, C. De Rore, C. Monteverdi, L. Marenzio, C. Gesualdo
January 28 - The baroque cantata, introduces Francesco Giuntini. Soprano Patrizia Cigna, Riccardo Mascia harpsichord, Bettina Hoffmann cello.
F. Gasparini, A. Stradella, G. F. Händel, A. Vivaldi
11 February - The romance from the living room, introduces Marco Grondona. Lavinia Bini soprano, Gianni Fabbrini piano.
F. P. Tosti, G. Puccini, R. Leoncavallo, F. Cilea
25 February - Romantic Lied, introduces Marco Grondona. Leonardo De Lisi tenor,
Vito Maggiolino piano.
F. Schubert, C. Schumann, F. Mendelssohn, J. Brahms
March 11 - The French chamber opera between the nineteenth and twentieth centuries, introduces Milli Russo. Mirella Di Vita soprano, Vincenzo Maxia piano.
G. Fauré, C. Debussy, M. Ravel, H. Duparc, F. Poulenc
March 25 - Francesco Giuntini introduces the twentieth century. Monica Benvenuti soprano, Giuseppe Bruno piano.
A. Schönberg, A. Berg, G. F. Ghedini, L. Dallapiccola, L. Berio, H. Berberian, S. Bussotti, K. Weill
The Accademia concert - Particularly committed to the enhancement of musical talents, the "Stefano Strata" Academy of Music renews its collaboration with Palazzo Blu to promote the promises of classical concertism. This year the Academy presents two concerts dedicated to young musicians who have perfected themselves in the violin, piano and classical guitar Masterclasses. In some concerts, young artists are flanked by the Academy's professors, including internationally renowned names such as the violinist Marco Fornaciari and the Russian pianist Anna Bulkina, in an ideal witness passage.
Benedetta Iardella, piano, performs W. A. Mozart
Lucilla Mariotti, violin, performs Parsifal Quartet
Marco Fornaciari 1st violin, Katarzyna Solecka 2nd violin, Simona Liguori viola, Eleanor Young cello: perform A. Vivaldi
Caterina Barontini, piano, performs E. Grieg
Chakavak Shekari Oreh, piano, performs F. Chopin, A. Skrjabin
Strata Guitar Quartet: Alessandro Nobili, Dario Atzori, Nicola Dardanis, Marta Marchetti perform G. Rossini, L. Brouwer, F. Kleynjans. Winner of the Scholarship of the Masterclass of the Maestro Aniello Desiderio