Live performances and listening of classical music from the musical collection of the same name

Rimini, 20th August 2015 – “Spirto gentil”, sequence of musical live performances and listenings, from the CD collection of the same name, claims to retrace the choices made by father Luigi Giussani’s in the musical field over more than fifty years of great educational activity.
For him, music was first of all a powerful instrument to recall humanity, as need of accomplishment and aspiration towards totality. “Music too, like the heart – he wrote in the introduction of the CD collection – has its reasons”. The name of the collection comes from the well-known aria from “La Favorita” by Gaetano Donizzetti. That aria, he said, had lent a vibration of humanity in response to men’s deepest desire: the quest for beauty, happiness, and freedom.
The series listening guides starts the 20th August at 7 p.m. in Sala Neri CONAI, with “Opera arias”, selected and commented by Ermanno Calzolaio, professor in the University of Macerata.
It follows the 23rd August, still at 7 p.m. in Sala Neri, the awaited live performance of selected pieces by Heitor Villa Lobos (1887-1959). Piero Bonaguri as lecturer and executer. The well-known soloist from Rimini has pressed, for “Spirto Gentil”, the entire works for guitar of the Brazilian composer, including Prelude no. 1 and Study no. 11 – two among father Giussani’s favourite pieces – also executed by Bonaguri at the presence of John Paul II.
Third date, the 26th August with the famous F. Shubert’s “Arpeggione Sonata”, with the execution of the duo formed by Giulio Giurato at the piano and Andrea Nocerini at the cello. Musicologist Pier Paolo Bellini as lecturer.
The Sonata in la minor for cello and piano «Arpeggione» D 821 dates back to 1824, the crucial year in Shubert’s creative experience as instrumental music composer. It was also the year of Quartets, D. 802, and “Maiden and Death”, D. 810, as well as Octet, D. 803. In this very particular timbre – it is deductible from the writing and the form of this sonata – lies one of the founding elements of this composition. It is a set opera which can’t amount to the coeval masterpieces, and yet unleashes a subtle but sure charm by using first and foremost the extraordinary lyrical invention, loaded by melancholy – a trait of the last Schubert’s instrumental music.

(M.T.)