University choir concert

Locandina Concerto 7 Giugno
Locandina Concerto 7 Giugno
Chiesa di Santa Caterina d'Alessandria
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On Wednesday, June 7 at 21.15 in the church of Santa Caterina d'Alessandria, will take place the eighteenth Annual Choir of the Choir of the University of Pisa during the events of June Pisano. The choir will perform together with the Tuscan Chamber Orchestra.
Franz Schubert: Magnificat D486 and Stabat Mater D383
Choir of the University - Tuscan Chamber Orchestra
Soprano Sonia Ciani
Countess Sara Bacchelli
Tenor Artemy Nagy
Baritone Michele Pierleoni
Director Stefano Barandoni
By Maria Antonella Galanti
Coordinator of the University Center for the diffusion of culture and music practice
Franz Schubert's Magnificat and Stabat Mater, both based on the alternating choir and soloists, and hence on the eruption of more lyrical portraits and constant dialogue between dramatic and other aspects of exultation-a festive character in the first composition and Hope in the second - they are practically coy, composed in 1815 and 1816.
In both cases, the musician, as in other sacred compositions, uses transformations and cuts of traditional text. In the Magnificat, taken from the Gospel of Luke, he omits some verses, while in the Stabat Mater he uses a paraphrase of the Latin sequence by the poet Friedrich Gottlieb Klopstock. In German text, almost in symbiosis with music, emerges the search for the contrast between light and night, between the light and the dark, between the feeling of pain and the possibility of resuscitation, between the plane and the fearful whisper And the loud invocation and the strong point of affirming a ransom hope, between the circular and recursive movement of psychic time and that given by the contrappuntistic voices of voices.
Schubert's, on the other hand, is a stabat Mater that is crippling and sorrowful, but an expression of the confrontation of a layman with spirituality and the divine that goes beyond the boundaries of the Catholic Church, and concerns tensions and anxieties capable of afflicting believers and unbelievers .
The sudden burst of poetry and music of almost festive tones and just in the midst of pain is what differentiates Schubert's Stabat Mater from those more closely tied to tradition. A tradition destined to fall into countless writings of various ages and authors very different from each other, marked by alternate vicissitudes also related to liturgical use or not of the song; Use not foreseen in the original predestination, but introduced in later times and then several times again.
In this Stabat Mater, the alternation of joy and hope in tears and sobs is emphasized by words that are not found in the traditional text and that make Klopstock a real rewrite. At one point, after the soprano solo voice tells us of the frightened and ruthless soul of Mary, the chorus tells the moment when the dying son turns to her, who is about to lose it, and to John, to tie them up One to the other and the incipit of this song emphasizes that it does so with sweetness. The song of the choir is now very tender, light like that of a nun, while lovingly Jesus says, "You are the mother of this son! And you are the son of this mother. " Immediately after the duet between tenor and soprano we talk about angels who rejoice, with tears that are dried up, of a possible celebrating cathartic and collective. And so, later on, after the traditional and common part of the original Stabat Mater, to share with her mother his pain that becomes the pain of all, again music and words are transfigured. The chorus, in fact, sings at first the impossibility of not crying and not smoking in the face of death but immediately after the opposite: the impossibility of not laughing in the face of a message of hope.
The dramatic dimension of Schubert's Stabat Mater rests in the contrast between the grave and deep tones of pain, and the mild, light, tall, and just as well aware and profound feelings of joy. The focal point of dramatics, however, is no longer Mary alone, the sorrowful and sorrowful mother. The first image to be summoned is, in fact, that of the son hanging from the cross and not the one of the mother at his feet. Perhaps, however, we could say that the focus is not on either one or the other, but on their relationship. We look at Jesus dying through Mary's eye filter that becomes one with our eyes, making it possible for an even more intense identification breakthrough because we face mothers, regardless of being men or women, in front of the Pendebat Filius Despairing despair that generates innocent death.
Stabat Mater, Pendebat Filius. The imperfect always refers to indefinite and indeterminate, to what is neither past or present, but overrides spatial time related to the chronological succession Of events to be in the dimension of the inner one, where none of our experiences is lost forever, even in the face of the irreverence of death. This is a temporal indefinability that is well linked to that of the image we chose for the poster: Pietà Rondanini, one of the last works to which Michelangelo, now eighty years, has worked. Sculpture, similar to Schubert's Stabat Mater, focuses on the relationship between mother and son. In the choice of verticality, the two figures almost seem to blend in one another's body, generating emotionally more intense and harrowing effect, because the hug that can not find reciprocity, that between a living body and another dead At the same time, it seems to adorn, sadly and tenderly, the mother-child fusion of expectation and moment of birth.
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