Artemusica Culture-concert pianist Stefano Cau

Music by Mozart, Beethoven, Liszt, Debussy and Prokofiev

The Association Artemusica Culture of Roana continues offering classical music fans a piano concert, the pianist Stefano Cau, which will offer an entertainment program with music by Mozart, Beethoven, Liszt, Debussy and Prokofiev.

the concert will take place on Sunday 30 April, at 21.00, at the Council Chamber of the Town Hall of Canove, and will be followed by light refreshments.

Admission is free as always.

STEFANO CAU
He began his artistic training under the guidance of Maestro Maurizio Training,
graduating master's degree in piano performance with full marks.
Later, as a student of the famous Polish pianist and teacher Alicja Kledzik, has
attended the two-year postgraduate university degree in piano-Studying
Akademia Muzyczna im Podyplomowe – at the ". Obornicka Jana Paderewskiego "from Poznan
– Poland, focusing with the highest marks.
It turned out one of the winners of numerous national and international piano competitions
From 2002 to 2010 took part in the "international courses of musical perfection
– Comune di Bergolo "Ruggero Maghini", organised by the cultural association ", taught by master
Maurizio Training.
Participated, as an actual student, Master Classes with master Benedetto Lupo, Professor of piano at "Accademia Nazionale di Santa Cecilia" in Rome, with master Sergio Perticaroli, former Professor of piano at "Accademia Nazionale di Santa Cecilia" in Rome, with the German pianist Tim Ovens, with the British pianist Martin Hughes, a professor at "Institut für Tasteninstrumente (Podium/Konzert)" of the "Universität für Musik und Darstellende Kunst Wien in Vienna , with pianist Gerolamo Di Liberto, with Riccardo Zadra and Federica Righini, Faculty of piano at the Conservatory "a. Pedrollo" in Vicenza and Prof.ssa and pianist Mariagrazia Lioy, with pianist Roberto Prosseda and with other internationally renowned masters.
In academia, has always been chosen to participate in numerous concert activities organized by conservatives "G.F. Ghedini" di Cuneo, "a. Vivaldi" in Alessandria, "a. Pedrollo" in Vicenza and the State Academy of music "i. j. Paderewski" in Poznan (Poland).
In January 2008 he won a scholarship to the "Hugh Hodgson School of Music-University of Georgia" – United States of America, during which he studied in the class of Maestro Evgeny Rivkin, performing in concert in "Robert g. Edge Recital Hall" at the above University
He attended at the invitation of Maestro Lya De Barberiis, the Master Class that the great pianist and teacher held as part of the "XIII International specialization and course of musical interpretation".
To his credit, numerous concerts, which have always received numerous accolades from critics and the public. Currently is being perfected with teachers and pianists Riccardo Zadra and Federica Righini, at the Conservatory "a. Pedrollo" in Vicenza.

PROGRAM

The concert will open with a small Adagio in f major by Wolfgang Amadeus song, miniature of rare delicacy, is taken from one of 6 sonatinas for piano.
The story of these six compositions, in any edition called "Sonatine Viennese" is quite ambiguous. Are nothing more that the piano transcription of several tracks the five components for wind instruments written by the same author Amusement in 1783.
Later works in which Constance Mozart refers in a letter of may 1800 as works for Basset horns.
It is likely that their piano version, published fourteen years later, no reliable assurances of authenticity.
Despite this, the six sonatinas embody to perfection the simple elegance, sometimes wistful, of the genius of Mozart.

Followed by the Sonata No 6 in f major of l. v. Beethoven,
Catalogued by the same author as op 10 No 2, this composition dates back to 1796 and keyboard typically falls in the first period of the production of Beethoven, during which are most apparent influences of Haydn and Mozart.
It is characterized by lively and ironic brilliance, in stark contrast to the previous Adagio of the viennese composer (although he shares the shades of plants), and for purely virtuosic.
The composition is structured in the canonical three times (Allegro-Allegretto in f minor – early) but, unlike many classic sonatas, sees the total absence of the slow movement.

Franz Liszt will have the task of closing the first part of the concert with the eleventh of his studies of Transcendental execution: "Harmonies du Soir".
Considered one of his most artistically successful, with its 10-minute duration and thanks to its broad expressive and poetic, this song is released completely from the rectory contracted structure that characterizes his compositional category.
Liszt himself has shown great foresight, ahead of the curve and giving us with its experiments, one of the most romantic "impressionistic" for sounds and tonal ambiguity.
Everything contributes to making this evening an exercise in style Harmonies of great technical difficulty and expressive, full of his harmonies in continuous evolution, the waterfalls of arpeggios which follow one another in quick succession, its refined colours, the large octave leaps and large agglomerations of agreements ...

The second part of the concert will be dedicated to the ' 900.
First representatives will be the 5 Jibes op 17 by Sergei Prokofiev.
In the late ' 800 and the beginning of ' 900 the musical language of many Russian composers was enriched with new elements.
In Russia at the time, large impact had in music the Symbolist literary movement in Decadent background.
The Soviet Stalinist regime began subjecting every artistic activity to harsh forms of political pressure and censorship: the aesthetic doctrine of the so-called socialist realism had to submit, in a State of total subordination, artists and artistic production.
The artist was not to offer an escape from his environment and each individual and subjective emotion expression of ideals should be discouraged.
The works were to be understood by the masses and any modernist was to be averted.
Many Russian artists fled the country, and Prokofiev was one of these.
His sarcastic klavierstucke 5 are nothing more than the answer, controversy, provocative and full of grotesque theatrics, these limitations.

Préludes ("Preludes") is the title of two collections for solo piano composed by Claude Debussy between 1909 and 1913. The title is an obvious reference to the play of the same name by Frédéric Chopin, who had in turn inspired Bach's Well-tempered Clavier preludes.
The work of Debussy differs however from these models to the absence of a programmatic order and for greater formal freedom. His Préludes cannot be considered "Preludes" in the classic sense and eschew from any encoded form.
They constitute a unified cycle, a kind of suite expanded with consistent expressive and stylistic unity. Despite this, individual songs have an autonomy of character, so much so that in concert performances often opt for a selection of ad libitum.
Form and content are in Préludes perfectly balanced: every single composition can be read and interpreted at various levels and according to multiple viewpoints, authentic "open works".
Everything is played on detail, every note, every chord has an importance itself: it is almost to say that, rather than the overall construction of each piece, is to taste the single moment, every sound scheme, for its unique flavor.
Each of these pieces is undoubtedly a musical impression and Debussy was always highly sensitive to other art forms.
For this his Preludes are testimony to the art of evocation and symbol, revealing his interest in poetry, painting and architecture, his love for the contemplation of nature, his sense of humor, his knowledge for foreign folklore and its amazing ability to evoke places where it has never been.