& Music-Emilia, Catherine, Ida: achievements and adventures of three women chitarriste

Parish Church-Mittewald-Special Event: "stories of Emilia Garcia, Catherine Pelzer Pratten and Ida Presti" narrated by Nicoletta Confalone and played by Federica Artuso-Monday, 11 August

Monday, August 11, at 21.00 hours, at the parish church of Mittewald, Roan culture & music offers a truly specialevent, halfway between a concert and a compelling story, focusing on sound and adventurous lives of three chitarriste of the past.
Nicoletta Confalone, musicologist, and Federica Artuso, guitarist, will viewers of "Emilia, Catherine, Ida: achievements and adventures of three women chitarriste" in an interesting musical journey.

Room Notes: by Nicoletta Confalone
"The guitar is like a woman, who has not granted the coquetry of look, but don't touch me. '
So at the end of the seventeenth century sentenced Gaspar Sanz, priest, Spanish composer and guitarist, summarizing effectively the binomial women-guitar, that since the Baroque age has left traces very consistent iconographical, intriguing, and well above, at least quantitatively, compositional ones.
Just think of the sinuous and female shapes of guitars, which in the early nineteenth century had narrow hips as squeezed by corsets, while imaginary thanks to Torres, the architect of modern guitar luthier, have become not only larger, but also with softer curves and less exasperated; and all this, as it happens, just in the second half of the 19th century, parallel to the path that led from crinoline dress loose, no busts and constraints.
Then in the nineteenth century the guitar was alluding to the woman, and was happy to see a woman playing this instrument. Mind you, see, because listening to it was a secondary aspect, which however did not go beyond the four walls of the House.
For those who knew and wanted to make the artist, on the other hand, the road was much more tortuous and uncertain. Yet some have made not only the Muse, or, more prosaically, the dedicated a sonata and a sheet of album, or, more simply, the perfect wife, who in addition to embroider and cook also knows playing.
Women an obstinate, as Emilia Garcia (1813-1850), who surrendered to the difficulties that life took place facing right now: orphan's illegitimate daughter, 4 years of a mother and a father, that 16 Mauro Giuliani, overtime, and greatly admires guitarist-composer, who had been for her father and teacher, and had it made debut in Naples with great success. Despite all this, Emilia has persevered in making the guitarist and composer, and has succeeded, for example, to divide by equals a concert by Franz Liszt in Florence, to perform as a soloist with orchestra, not only in Italy, but also in Vienna, and even publish ten his numbers by Giovanni Ricordi opera; were the years between 1834 and 1837, when it was really an anomalous case find a woman like her in a catalog of a Publisher.
For Catharina Josepha Pelzer Pratten (1821-1895) things look a bit more simple, probably thanks to a right husband: If Emilia Garcia divided his sentimental and artistic destinations with Louis Guglielmi, singing very esteemed Master, but at the same time artist from uncompromising character, incapable of adapting commercial aspects, whose opera necessarily had, unlike was the fate of Catharina Pelzer. Daughter of art and child prodigy, fell in love with a musician who was also a successful man: this is the famous English flautist Robert Sidney Pratten. For him Catharina left his native Germany and became Madame Sidney Pratten, apparently a flattening what the register claimed. By last name, via the name. Yet, precisely through this annulment of his general, his talent was able to shine, even independently from that of his companion. Let us not forget that in those years also in England a woman civil couldn't have their own labour income, could not, in the event of separation, have custody of their children, and, in exceptional cases in which write books, he couldn't even collect their royalties. Catharina, from Victorian, perfect when became a widow in 1868, in mourning for his guitar painted it black. But continued without stopping his work as performer and teacher, admired from across London.
More than 100 years divide the births of Emilia and Catharina from Ida Presti (1924-1967).
With you we are already in the middle of the twentieth century, really another world because Ida is part of the first generation of women who won the right to vote, since early youth. But there are similarities with its predecessor. Ida was also a precocious talent: his father, by Andrés Segovia's admirer, gave every day a new score from play but she, who was also a young girl passionate about comics, at first reading already remembered by heart, for which he could repeat it quietly, reading the preferred magazine, who kept, together with the score on his lectern.
Significantly, just heard that Segovia girl during a hearing, told her not to listen to the advice of some, because they had no need.
And also for Ida, concertist globetrotter already in adolescence, there is a fatal man, guitarist Alexander Lagoya, for which the soloist almost fully converted to the Repertory for duo; through the transcripts made by Lagoya, famous original works for other instrumental ensembles, this pair of artists enchanted the audiences around the world, and catalizzò the attention of several composers on resources and timbre peculiarities of the guitar duo. The beautiful fairy tale, unfortunately, lasted very little, because Ida, as Emilia, died prematurely.
But I hope that doesn't happen as much to their memory. Women and chitarriste.

Nicoletta Confalone, based exhibition, he completed his musical studies at the Conservatorio Francesco Venezze of Rovigo, where she graduated in guitar under the guidance of Francesco Biraghi.
He later studied with Oscar Ghiglia, Ruggero Chiesa and Stefano Grondona.
After his classical studies, he obtained cum laude and graduated in law at the University of Ferrara, who graduated in musicology at the University Ca ' Foscari of Venice, under the leadership of Giovanni Morelli.
He published an essay on Schubert and guitar to the Cini Foundation.
In fulfillment of his researches on Emilia Garcia, published by musicological journal The Fronimo, in 2013 has published the first edition of the opera omnia of this nineteenth-century composer-guitarist, with the Publisher Robert Coldwell of ADI Editions, Texas.
«It reads, study, learn, and work at the Bank.

Federica Artuso received his diploma in guitar and second level academic diploma, both with honors, magna cum laude and special mention, the Vicenza Conservatory, under the guidance of Stefano Grondona. Has participated in numerous master classes, both as a soloist, with Paul Galbraith, Laura Mondiello, Trepat, Andrea Carlos, Oscar Ghiglia, ten of which as a chamber musician, with Monica Huggett, Sigiswald Kujiken and Oscar Ghiglia and received diplomas of merit and grants from institutions such as the Diocesan Foundation s. Cecilia in Brescia and the Accademia Chigiana in Siena (both as a soloist and in duo). In 2010 he got the third prize at the 35 Edition of the international competition of Gargnano, and was rewarded in various contests of execution (Arts Award, the best graduates of Italy, Padua, Arezzo, Piove di Sacco). He has given recitals in Italy and in Spain, dedicated to the composer Mario Castelnuovo-Tedesco. This author has recorded the Passacaglia for The guitaromanie (production Conservatory of Vicenza).
As a chamber musician he has recorded at the Teatro Olimpico in Vicenza to a documentary on Palladio (Mestierecinema Venice), and participated in the recording of two of the three CDs devoted to Villa-Lobos, conducted by Andrea Taz for the Naxos label.
In 2006 he founded with guitarist Taz Phédre duo Andrea Adroit, repeatedly honored at Friends of the Conservatory Competition (Vicenza, 2007 and 2008 editions); training, inter alia, achieved with actor Adriano Platero y yo, Marcolini entertainment for reciter and guitar on texts by j. r. Jiménez and music by m. Castelnuovo-Tedesco.
From 2010 collaborates with the Conservatory of Vicenza as a lecturer for free guitar lessons.
At the same time as the musical studies, he earned in 2006 at the University of Padua, the Bachelor's degree in philosophy with honors, and is currently writing the thesis for the masters degree.
Paul Galbraith wrote of her: «his play is special, something out of the ordinary, uncommon, in the deepest sense. "

As always, admission is free.