Name: Italian Evening
Start: 2020-03-26T00:00:00.000Z
End: 2020-03-26T00:00:00.000Z
Location: Italian Cultural Institute, Budapest

Admin

Hungarian National Philharmonic

Conductor

Carlo Montanaro

Others

Hungarian National Choir

Orchestra

Singer

Soprano

Eszter Sümegi

Contralto

Atala Schöck

Mezzosoprano

Tenor

Gergely Boncsér

Bass

Miklós Sebestyén

Chorus master

Csaba Somos

Mezzo-soprano

Italian Evening

Budapest

Hungary

Italian Cultural Institute, Budapest

Italian Evening: Quattro Pezzi Sacri Verdi (+1 More)

Public

Concert

Oratorio / Orchestral

Four Sacred Pieces

Stabat Mater

Saileshwaran Thirumurthy

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Chefdirigent Musiktheater

Choir

Choreographer

Chorus Director

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Countertenor

Bass-baritone

Baritone

Alto

Child vocalist

Continuo

Silent

Spoken

It started with an unusual musical scale. An otherwise not particularly significant musician named Adolfo Crescentini published a scale of seven notes in the magazine of the renowned Ricordi music publishers along with a challenge to composers to write a piece based on it, if they could. The first thing to do would be to find suitable harmonies for it. The ageing Verdi – who entertained himself by composing fugues – took an interest in the impossible task. He wrote an Ave Maria that starts with the seven memorable notes (C, D♭, E, F♯, G♯, A♯, B, followed by C again, with one change on the way back down) sung by the bass part before the other parts take it up at various points. All of this took place in 1889. Later on, independently of the problem of the scale, Verdi took up writing a Stabat mater and a Te Deum, both for chorus and orchestra. To these he added his somewhat earlier piece for a cappella chorus Laudi alla Vergine Maria, written to text from Dante’s Paradiso. These four pieces would eventually come together to become Quattro pezzi sacri. Although they are only linked to each other by their religious content, the elderly maestro approved their being published as a set. After hearing Verdi’s Stabat mater and its evocation of the Mother of Sorrows, it will be a unique experience to hear Rossini’s version of the same medieval Latin so-called “sequence” text.

English

Egy furcsa hangsorral kezdődött. Adolfo Crescentininek hívták azt a nem különösebben jelentős muzsikust, aki a híres Ricordi kiadó magazinjában közzétett egy hét hangból álló sort, azzal a felhívással, írjanak rá darabot a zeneszerzők, ha tudnak. Először is: találjanak hozzá megfelelő harmóniákat. Az öreg Verdit – aki a maga szórakoztatására fúgákat komponált — érdekelni kezdte a lehetetlen feladat. Komponált egy Ave Mariát, amelynek kezdetén a basszusban hangzik a nevezetes hét hang (c-desz-e-fisz-gisz-aisz-h és ismét c, lefelé egy változtatással), aztán átvándorol más szólamokba. Mindez 1889-ben történt. Később egy Stabat mater foglalkoztatta, immár függetlenül a feladványtól, zenekarral, majd Te Deumot írt szintén kórusra és zenekarra, illetve e háromhoz csatlakozott még a valamivel korábbi Laudi alla Vergine Maria à cappella kórusra (ennek szövege Dante Paradisójából való). Ez a négy tétel lett végül a Quattro pezzi sacri. Csak a vallásos tartalom köti őket össze, de az öregúr jóváhagyta együttes közreadásukat. Különös élmény a Fájdalmas Szűzanyát megidéző, Verdi-féle Stabat mater után meghallgatni Rossini verziójat ugyanerre a középkori latin , úgynevezett sequentia-szövegre.

magyar

Italian Evening by Verdi, Rossini, No (2020/2020), Diriģents Carlo Montanaro, Italian Cultural Institute, Budapest, Budapest, Hungary

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