The ambitious project which opened the doors to the public in January at the Aula Magna “Corrado Carradini”, Liceo Classico Ariosto in collaboration with the Scuola Civica di Musica (article here) with Massimo Salotti presenting a series of monthly music meetings each with a theme, came to its conclusion this evening with an evening with the pianist Simone Soldati who presented his thoughts and ideas on the theme of Schumann – “Le forme del suono: Robert Schumann, tra scritti, maschere, passione.
Il Liceo Classico Ariosto di Barga, in collaborazione con la Scuola Civica di Musica, promuove una serie di importanti appuntamenti musicali per arricchire l’offerta culturale per i propri allievi e per tutto il pubblico che vorrà intervenire.
Musicisti di talento parteciperanno ad una serie di incontri che alla fine saranno veri e propri “colloqui con la musica”. Gli “incontri con l’artista” si svolgeranno nell’Aula Magna dell’ISI di Barga.
Venerdì 27 aprile, ore 21.00, l’ultimo degli incontri: “Le forme del suono: Robert Schumann, tra scritti, maschere, passione” – Simone Soldati – pianoforte
Robert Schumann,sometimes known as Robert Alexander Schumann,(8 June 1810 – 29 July 1856) was a German composer, aesthete and influential music critic. He is regarded as one of the greatest and most representative composers of the Romantic era. Schumann left the study of law to return to music, intending to pursue a career as a virtuoso pianist. He had been assured by his teacher Friedrich Wieck that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing.
Schumann’s published compositions were written exclusively for the piano until 1840; he later composed works for piano and orchestra; many Lieder (songs for voice and piano); four symphonies; an opera; and other orchestral, choral, and chamber works. Works such as Kinderszenen, Album für die Jugend, Blumenstück and Albumblätter are among his most famous. His writings about music appeared mostly in the Neue Zeitschrift für Musik (New Journal for Music), a Leipzig-based publication which he jointly founded.
In 1840, against her father’s wishes, Schumann married pianist Clara Wieck, daughter of his former teacher, the day before she legally came of age at 21. Had they waited one day, they would have no longer needed her father’s consent, which had been the subject of a long and acrimonious legal battle, which found in favor of Clara and Robert. Clara also composed music and had a considerable concert career, the earnings from which formed a substantial part of her father’s fortune.
For the last two years of his life, after an attempted suicide, Schumann was confined to a mental institution, at his own request.
Schumann had considerable influence in the nineteenth century and beyond, despite his adoption of more conservative modes of composition after his marriage. He left an array of acclaimed music in virtually all the forms then known. Partly through his protégé Brahms, Schumann’s ideals and musical vocabulary became widely disseminated. Composer Sir Edward Elgar called Schumann “my ideal.” – source
giovedì 26 gennaio: “Shostakovich, monografie: visioni, immagini, suggestioni” – Massimo Salotti – pianoforte – article here
venerdì 24 febbraio: “I colori del Sud America” – Fabio De Ranieri – chitarra – article here
domenica 25 marzo: “Chopin, monografie” – Pietro Rigacci – pianoforte – article here
venerdì 27 aprile: “Le forme del suono: Robert Schumann, tra scritti, maschere, passione” – Simone Soldati – pianoforte